


Dawn of a New Knight

by greerwatson



Series: FK4 - Virtual Fourth Season [1]
Category: Forever Knight
Genre: AU Post-Canon, Gen, Vampires, casefic, modified script format, virtual season
Language: English
Status: Completed
Published: 2004-09-20
Updated: 2004-09-20
Packaged: 2018-05-26 02:21:14
Rating: General Audiences
Warnings: No Archive Warnings Apply
Chapters: 1
Words: 19,142
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/6219832
Author URL: https://archiveofourown.org/users/greerwatson/pseuds/greerwatson
Summary: <blockquote class="userstuff">
              <p><b>Forever Knight</b>  <i>1:00</i>    Season premiere.  Nick (Geraint Wyn Davies) and his partner Tracy (Lisa Ryder) investigate a gay-bashing murder; a hijacking threatens the vampires of Toronto.</p>
            </blockquote>





	Dawn of a New Knight

**Author's Note:**

> CAST:
> 
> Nick Knight  
> LaCroix  
> Natalie Lambert  
> Tracy Vetter  
> Joe Reese  
> Vachon  
> Urs
> 
> teen-aged gay-basher  
> Charles Ryan  
> Mike Campbell  
> Dinah  
> Mike Seymour (TV anchor)  
> Rich Orton  
> desk sergeant  
> doctor  
> Ianetti  
> George Cunningham  
> Ysabel Rocca  
> Simon Mieka  
> Soo-Ling
> 
> gay-bashers, man with dog, lab assistant, thieves, policemen, people at the murder scene & the hijacking scene, people in The Raven & the gay bar, people in the liquor store 
> 
> dog, Natalie's cat
> 
>  
> 
> SETS:
> 
> ext. police parking lot  
> ext. rear of police station
> 
> int. the police station  
> int. Nick's apartment  
> int. Natalie's office  
> int. Tracy's apartment  
> int. Natalie's apartment  
> int. The Raven  
> int. LaCroix's study  
> int. broadcast booth
> 
> ext. street near where Sorenson works  
> ext. Cunningham's houseext. street where the truck was hijacked  
> int. Cunningham's house——front hall/living room  
> int. Nick's parlour (in 1890s)  
> int. gay bar  
> int. hospital room  
> int. liquor store  
> int. Campbell's apartment/hallway
> 
> Nick's car
> 
> High Park, highway rest-stop restaurant & parking lot, the 401, various other streets

  
**PROLOGUE**

FADE IN:

1\. HIGH PARK—MOON THROUGH BRANCHES—NIGHT

CUT TO:

2\. HIGH PARK—LONG SHOT—NIGHT

In b.g., CHARLES RYAN walks slowly through the park (TOWARDS THE CAMERA), looking around.  He is a fairly fit, fairly attractive thirtyish man with a low-level professional job.  Although he lives with another man, MIKE CAMPBELL, he often cruises the park looking for casual sex.  In f.g, a TEENAGER steps from behind some bushes, back to the camera.  He is handsome, about seventeen (in high school), and dressed in moderately high-priced casual wear.  He is part of a gang of youths who have come to the park to beat someone up for fun.  Unseen, the others are hiding behind the bushes to jump the guy he picks up.

CUT TO:

3\. REVERSE PERSPECTIVE

The teenager smiles meaningfully at Ryan.

CUT TO:

4\. INSERT—EXTREME CLOSE-UP OF RYAN

He smiles back.

CUT TO:

5\. INSERT—EXTREME CLOSE-UP OF THE TEENAGER

CUT TO:

6\. INSERT—CLOSE-UP OF RYAN (TEENAGER'S P.O.V.)

Ryan walks towards the teenager, smiling with assurance.

> RYAN  
>  Warm night, isn't it?

CUT TO:

  
7\. RETURN TO REVERSE PERSPECTIVE

As Ryan walks forward, suddenly another youth springs on him from behind, knocking him down.

CUT TO:

8\. CLOSE-UP OF RYAN—FROM THE SIDE—GROUND LEVEL

Ryan starts to turn around, trying to get up, even though there is someone on his back.

> RYAN  
>  What...?

The youth on his back pushes him down again, with a hard shove to his head.

CUT TO:

9\. EXTREME CLOSE-UP OF RYAN'S FACE—AT GROUND LEVEL

Pushed down against the ground.

CUT TO:

10\. RETURN TO MAIN SHOT

The first teenager stands, gloating, as the second one gets up.  Ryan, clearly in shock, gets up on his hands and knees.  TWO OR THREE OTHER TEENAGERS COME ON SCREEN IN EXTREME F.G.  They close in on the group.  One of them kicks Ryan.

CUT TO:

11\. INSERT—EXTREME CLOSE-UP OF FOOT KICKING RYAN'S SIDE

CUT TO:

12\. INSERT—EXTREME CLOSE-UP OF RYAN'S FACE

CUT TO:

13\. RETURN TO MAIN SHOT

Ryan doubles over, hands to his stomach.  Suddenly, the youth who had lured him kneels down on one knee, and grabs him by the hair.

CUT TO:

  
14\. INSERT—EXTREME CLOSE-UP OF RYAN

His head is wrenched round.  He is still in pain from being kicked.

CUT TO:

15\. INSERT—EXTREME CLOSE-UP OF TEENAGER

> TEENAGER  
>  _(hatred)_  
>  Filthy faggot!

He turns his head to the others.

> TEENAGER  
>  Get him.

CUT TO:

16\. RETURN TO EXTREME CLOSE-UP OF RYAN

The teenager shoves Ryan's head back.  It is all happening too fast—and he is already in too much pain—for him to take in what is about to happen.

CUT TO:

17\. RETURN TO MAIN SHOT

Ryan is pushed off balance, and falls to his side.  The teenager gets to his feet quickly and kicks him in the stomach.  The other teenagers close in (FROM F.G., HIDING RYAN FROM SIGHT).

CUT TO:

18\. MOON THROUGH BRANCHES

All is quiet.

CUT TO:

19\. ENTRANCE TO HIGH PARK—MED. ANGLE—NIGHT

THE GROUP OF TEENAGERS APPROACH THE CAMERA, jostling one another, laughing, as they walk out of the park.

> TEENAGER  
>  Did you hear him?  Didja?

THEY PASS THE CAMERA & GO O.S., snorting with laughter.

CUT TO:

20\. HIGH PARK—LONG SHOT—NIGHT

In b.g., Ryan's body lies on the grass.

CUT TO:

21\. ANGLE DOWN ON BODY

Ryan's body lies face up on the grass off the path.

FADE OUT.

**END PROLOGUE**

 

* * *

  
  
**ACT ONE**

FADE IN:

22\. HIGH PARK—LONG SHOT OF CRIME SCENE—NIGHT

In b.g., NATALIE is kneeling by the body of Charles Ryan.  Around her, the area is being marked off as a crime scene.  Some way away, a UNIFORMED COP stands with A MAN WITH A DOG (which found the body).  People wait to take the body away.  NICK AND TRACY COME ON SCREEN IN F.G.  CAMERA FOLLOWS THEM as they head for the crime scene.

CUT TO:

23\. CLOSE-UP OF NATALIE—ANGLE DOWN

ANGLE SHIFTS OVER & DOWN TO THE BODY (R.S.), AND THEN SHIFTS UP.  Natalie (l.s.) looks up in surprise as Nick and Tracy stop by her.  (ONLY THEIR LEGS ARE ON SCREEN.)

> NATALIE  
>  I thought you two were working that shooting?

ANGLE SHIFTS UP TO TWO-SHOT OF NICK & TRACY.

> TRACY  
>  Made an arrest earlier this evening.

ANGLE SHIFTS DOWN AGAIN as Nick kneels by the body, pulling a pair of gloves out of his pocket.  He puts on the gloves, and reaches into Ryan's pocket for his wallet.  He pulls a sheaf of bills partway out.

> TRACY (O.S.)  
>  Well, it doesn't look like robbery.

CUT TO:

24\. INSERT—EXTREME CLOSE-UP OF NICK'S HANDS CHECKING THROUGH THE OPEN WALLET

> NICK (O.S.)  
>  Quite a collection of credit cards.

CUT TO:

  
25\. RETURN TO CLOSE-UP OF NICK

> TRACY (O.S.)  
>  Driver's licence?

Nick checks for it, and then looks at the body.

> NICK  
>  Yeah, that's him.  Charles Ryan.

ANGLE SHIFTS OVER TO NATALIE.  She is looking at Nick.  CAMERA HOLDS ON HER AS SHE GETS TO HER FEET.  She is still looking down at Nick (now o.s.).

> NATALIE  
>  _(crisply)_  
>  This was  overkill with a vengeance.  They probably  
>  beat on him for four or five minutes.  
>  _(to Tracy, angry)_  
>  Which ... considering that there must have been several  
>  of them, and they were kicking, punching, and—  
>  _(to Nick)_  
>  — stabbing him ... was certainly—  
>  _(to Tracy)_  
>  —long enough to inflict fatal injuries.  
>  _(pauses)_  
>  _(more calmly)_  
>  Well, I can tell you more when I do the autopsy.  
>  _(continues)_

CAMERA ADJUSTS TO BRING TRACY ON SCREEN.

> NATALIE  
>  _(continues, to Tracy)_  
>  Anything else?  Or have you—  
>  _(to Nick)_  
>  —seen all you want?

> TRACY  
>  Nick?

NICK COMES ON SCREEN AS HE GETS UP.  CAMERA ADJUSTS TO TWO-SHOT WITH TRACY.  She pulls an evidence bag out of her pocket, and Nick slips the wallet inside.  CAMERA MOVES BACK TO CLOSE ANGLE, BRINGING NATALIE BACK ON SCREEN.  Nick turns to her.

> NICK  
>  Okay.

ANGLE SHIFTS SLIGHTLY TO THE LEFT. Natalie turns to the people waiting.

> NATALIE  
>  You can take it away.

ANGLE SHIFTS BACK.  Natalie turns back to Nick and Tracy.  Nick and Tracy nod.  Natalie turns away (to go back to the morgue with the body).

> NICK  
>  Do you know who found the body?

> NATALIE  
>  _(turns head back)_  
>  What?  Oh!  
>  _(slight jerk of head)_  
>  I think ... over there.

Nick and Tracy turn their heads.  CAMERA SHIFTS OVER PAST THEM TO THE DIRECTION NATALIE HAS INDICATED.  Some thirty feet away, the cop is standing with the man and his dog.

CUT TO:

26\. REVERSE PERSPECTIVE

In right f.g., the man is standing, with the cop further to his right.  In left b.g. is the murder scene.  The body is being put into a body bag.  Nick and Tracy walk away from Natalie towards the man.  In b.g., the body bag carried o.s.  Natalie follows.  CAMERA SHIFTS DOWN TO THE DOG.  It looks up at the man, and he leans over to pat it reassuringly.  CAMERA ADJUSTS BACK UP as he straightens as Nick and Tracy come up.

CUT TO:

27\. LONG SHOT (AS AT BEGINNING OF ACT ONE)

The body bag is carried o.s. (PAST THE CAMERA) along the path.  Natalie, following, pauses to look back.  In b.g., Nick and Tracy are talking to the witness.

CUT TO:

  
28\. RETURN TO REVERSE PERSPECTIVE

The path is clear.  Tracy is looking down at a notebook, on which she has been jotting.

> NICK  
>  Thank you.

Tracy nods to the man, putting her notes in her pocket.

CUT TO:

29\. ENTRANCE TO PARK—CLOSE ANGLE TOWARDS NICK & TRACY

They walk out (TOWARDS THE CAMERA).

> TRACY  
>  What was the address on the driver's licence?

CUT TO:

30\. INSIDE NICK'S CAR, PARKED AT THE CURB—EXTREME CLOSE-UP OF THE GLOVE COMPARTMENT—ANGLE ACROSS TRACY

Nick is reaching forward to the glove compartment.  It opens with a CLICK.

CUT TO:

  
31\. TWO-SHOT—ACROSS TRACY TOWARDS NICK

Nick shifts back, putting his hand in his pocket for his keys.

> NICK  
>  You want to get the map?

He pulls out his keys, and reaches to start the car.  Tracy rummages in the glove compartment, pulls out the map, and unfolds it.  Nick turns on the ignition.

CUT TO:

32\. MED. ANGLE ON THE CAR, FROM THE SIDEWALK IN FRONT OF THE CAR

The lights are switched on, and the car pulls away from the curb and drives off (PAST THE CAMERA).

CUT TO:

  
33\. INT. HALLWAY OF APARTMENT BUILDING

NICK & TRACY COME ON SCREEN IN F.G. AND WALK UP THE HALL.  They look at the number on the nearest door.

> TRACY  
>  _(pointing ahead)_  
>  It's got to be this one, Nick.

They stop outside the next apartment along, which Ryan shared with Campbell.  Nick knocks on the door.

CUT TO:

34\. INT. MIKE CAMPBELL'S APARTMENT—CLOSE-UP AT THE DOOR

Mike Campbell lived with the murder victim.  He is in his early thirties, a pleasant looking man with an office job.  He has taken off his suit jacket and tie.  The apartment that he and Ryan shared is well-furnished, clearly belonging to people who have good incomes.

Campbell opens the door.  Nick and Tracy flash their ID.

> NICK  
>  Detective Knight, Detective Vetter.  Metro  
>  Police.  May we come in?

> CAMPBELL  
>  _(puzzled)_  
>  Uh, yeah.  
>  _(opens door wide)_

Nick and Tracy move forward.

CUT TO:

35\. MED. ANGLE

Nick and Tracy come in, and walk a little way into the room.   Behind them, Campbell closes the door.  He turns round.  He addresses them politely, a bit formally in tone, and clearly with no idea why they might be there.  CAMERA CLOSES IN SLOWLY.

> CAMPBELL  
>  What is this about, please?

> NICK  
>  Mr. Campbell, right?

> CAMPBELL  
>  _(interrogative tone)_  
>  Yes.  Mike Campbell.

> NICK  
>  We have this address for Mr. Charles Ryan.

> CAMPBELL  
>  Chuck?  
>  _(suddenly tense)_  
>  What is it?—has he been arrested?

> NICK  
>  I'm sorry, Mr. Campbell.  I'm afraid we have some  
>  bad news.

> CAMPBELL  
>  _(frightened pause)_  
>  Has there been an accident?

> TRACY  
>  Not exactly.  
>  _(hesitates)_

CUT TO:

36\. EXTREME CLOSE-UP OF CAMPBELL

He's frozen in place, eyes on them.

> NICK (O.S.)  
>  _(hesitates, awkward)_  
>  There's no easy way to tell you this. Your friend  
>  was attacked earlier this evening.  
>  _(gentle pause)_  
>  He died of his injuries.

Campbell just stares.

CUT TO:

37\. INSERT—TWO-SHOT OF NICK & TRACY

They exchange glances.

> TRACY  
>  Mr. Campbell—  
>  _(continues)_

CUT TO:

38\. RETURN TO EXTREME CLOSE-UP OF CAMPBELL

Blank incredulity.

> TRACY (O.S.)  
>  _(continues)_  
>  —is there someone you could call?  You maybe shouldn't  
>  be alone right now.

Campbell doesn't seem to hear her.

CUT TO:

39\. INSERT—TWO-SHOT OF NICK & TRACY

They look at him, slightly concerned.

CUT TO:

40\. RETURN TO CLOSE ANGLE

> CAMPBELL  
>  _(incredulously)_  
>  Chuck's  dead?

> NICK  
>  Yes, Mr. Campbell.  I'm very sorry.

Campbell's eyes are wide with shock.

> CAMPBELL  
>  _(trying to keep calm)_  
>  What happened?  Was he  mugged?

Nick and Tracy exchange glances; Nick decides he should speak.

> NICK  
>  We don't think so—he wasn't robbed. _(pause)_  
>  His body was found in High Park earlier this  
>  evening.  
>  _(continues)_

Campbell goes very still, staring at Nick.

> NICK  
>  _(continues)_  
>  He'd been beaten to death.

Suddenly—taking Nick and Tracy aback—Campbell rails at the dead man (mostly to himself rather than to them).

> CAMPBELL  
>  Oh, the fool!  I told him!  
>  ( _continues)_

CUT TO:

41\. INSERT—CLOSE-UP OF CAMPBELL

> CAMPBELL  
>  _(continues)_  
>  I told him and  told him.  It's not safe,  
>  I said.  You don't know what you might pick up—or  
>  who you might pick up.  
>  _(continues)_

CUT TO:

42\. RETURN TO CLOSE ANGLE

Campbell looks at Nick and Tracy, who have no idea what to say to his outburst.

> CAMPBELL  
>  _(continues)_  
>  It's all very well to say he practises safe sex, but  
>  there's more  involved, isn't there.  He was  
>  my lover.  And—  
>  _(continues)_

CUT TO:

43\. INSERT—CLOSE-UP OF CAMPBELL

> CAMPBELL  
>  _(deep breath)_  
>  _(continues, to self)_  
>  —he  swore he didn't any more.  He swore  
>  he never did any more.  
>  _(to Nick & Tracy)_  
>  _(disbelief)_  
>  Chuck's  dead?  Are you sure?

CUT TO:

44\. RETURN TO CLOSE ANGLE

Nick and Tracy are overwhelmed by the rush of speech.

> CAMPBELL  
>  _(continues, pleading)_  
>  He  called me just a couple of hours ago.  Said  
>  he'd be late home from work.

Campbell stops, looking anxiously at Nick and Tracy, hoping that there might have been some mistake.

> NICK  
>  _(professional)_  
>  We don't know Mr. Ryan's movements exactly.  Perhaps  
>  you can help us.  Can you tell us where he worked?

CUT TO:

45\. CLOSE-UP OF CAMPBELL

> CAMPBELL  
>  _(dully, to self)_  
>  No, he wasn't at work.

CUT TO:

46\. TWO-SHOT OF NICK & TRACY

They look at him with some sympathy.

CUT TO:

47\. EXT. POLICE STATION—NIGHT (STOCK)

> REESE (V.O.)  
>  _(heavily)_  
>  Some damn punks just—  
>  (continues)

CUT TO:

  
48\. INT. REESE'S OFFICE—CLOSE ANGLE ON REESE

He is standing by his desk, in front of the window, one hand in his pocket.  O.S., Nick is opposite him, in front of the window to the squad room; and Tracy is beside him, but nearer the door.  CAMERA CLOSES IN ON REESE.

> REESE  
>  _(continues)_  
>  —graduated to the big time.

> NICK (O.S.)  
>  Captain?

> REESE  
>  _(depressed)_  
>  Hate crimes.  
>  (disgusted pause)  
>  I never could get a handle on hate  
>  as a motive for murder.

CUT TO:

49\. REVERSE ANGLE—TOWARDS THE OTHER SIDE OF THE ROOM

Nick lowers his eyes for a moment; Tracy bites her lip.

CUT TO:

50\. RETURN TO CLOSE-UP OF REESE

CAMERA HOLDS ON REESE as he goes over to stand behind his desk, hesitating before sitting down.

> REESE  
>  Well ... see what you can do with it.

CUT TO:

51\. RETURN TO REVERSE ANGLE

> TRACY  
>  Right, Cap.  
>  _(turns to go)_

CUT TO:

52\. RETURN TO CLOSE-UP OF REESE

Reese sits down slowly at his desk.

CUT TO:

53\. RETURN TO REVERSE ANGLE

Tracy is going out the door.  Nick follows her out.

CUT TO:

54\. INT. SQUAD ROOM—CLOSE ANGLE ON DOOR TO REESE'S OFFICE

Tracy is walking to her desk; Nick comes out of the door.  ANGLE ADJUSTS OVER & CLOSES IN as they go to their desks.  Tracy sits down, and Nick goes round her desk to his own.  He pauses, with his hand on the back of his chair.

> NICK  
>  Might be useful to check the incident reports ... see  
>  if there's been anything round about the park, maybe  
>  leading up to this.

> TRACY  
>  Yeah.

Nick sits down.

CUT TO:

55\. EXT. CORONER'S BUILDING, SIGN IN F.G.—NIGHT (STOCK)

CUT TO:

56\. INT. NATALIE'S OFFICE—CLOSE-UP OF NATALIE—ANGLE UP FROM THE AUTOPSY TABLE

Natalie wears a lab coat, a mask around her neck.  Her hand moves sharply along as she UNZIPS the body bag (o.s.).  She looks down consideringly, and turns away.  CAMERA ADJUSTS UP & CIRCLES AROUND TO THE MORGUE END OF THE ROOM, HOLDING ON NATALIE.  She picks up gloves, puts them on, and picks up her recorder.  She flicks it on.

> NATALIE _(into recorder)_  
>  Subject is a male Caucasian, about thirty years  
>  old.  Medium build.

CUT TO:

  
57\. INT. SQUAD ROOM—PAN SHOT—FROM AN ANGLE ALONG THE CORRIDOR LEADING PAST THE BRIEFING AREA

A uniformed cop comes in and along the corridor.  CAMERA PANS ROUND, PAST THE BRIEFING AREA.  The cop goes o.s. (into the squad room).  In the briefing area, there are a couple of cops at the table, another at a file.  CAMERA PANS ROUND PAST THE COFFEE MACHINE.  Someone is pouring out coffee, someone comes in the exit and along to the central corridor.  CAMERA CONTINUES ROUND & DOWN THE CORRIDOR.  A couple of cops are standing talking by one of the desks.  A detective is at a desk.  People go in and out the exit leading to the interrogation room.  CAMERA MOVES DOWN THE AISLE.  Nick comes up from the front of the room, and sits at his desk.  Tracy is at hers, looking at her computer screen.  CAMERA CLOSES IN.  Tracy taps a key, grimaces, and looks at Nick.

> TRACY  
>  So far I've got two tickets for not keeping their  
>  dogs on a leash, and an attempted mugging.   
>  What have you got from Vice?

CUT TO:

58\. CLOSE-UP OF NICK

> NICK  
>  _(wry smile)_  
>  The park's popular?

CUT TO:

59\. CLOSE-UP OF TRACY

> TRACY  
>  _(little laugh)_  
>  That's news?

CUT TO:

60\. INT. REESE'S OFFICE—ANGLE ACROSS THE ROOM TO THE CORNER WITH THE FILING CABINET

Reese pushes in one of the drawers and turns round.  The PHONE rings, and he goes to the desk and answers it.

CUT TO:

  
61\. INT. NATALIE'S OFFICE—FULL SHOT TOWARDS THE MORGUE

Natalie (near end) and an assistant (far end) push a gurney through with a body bag on it.  Natalie has her gloves off, but still has her gown on, now stained.  She comes back out, and turns to call through the door.

> NATALIE  
>  I'll be gone about an hour I guess.

She takes off her jacket and drops it in a bin, and then quickly heads for the door (TOWARDS THE CAMERA).

CUT TO:

62\. INT. REESE'S OFFICE—SAME ANGLE AS BEFORE

Reese is now sitting down, but still on the phone.

> REESE _(into phone)_  
>  Yeah, well ... I can tell you more when we've  got  
>  more.  
>  _(listens)_  
>  Believe me—if that is the case, then we're as concerned  
>  as  you are.  But let's not jump to premature  
>  conclusions yet, okay?  Right.

He hangs up, giving the phone a glare and head-shake.  He shifts his chair, and pulls out his lower desk drawer.

CUT TO:

63\. INSERT—CLOSE-UP OF DRAWER AS REESE TAKES A CHINA MUG OUT

CUT TO:

64\. INT. SQUAD ROOM—CLOSE-UP OF TRACY, ACROSS NICK'S DESK

Elbows on the desk, hands clasped in the air.

> TRACY  
>  You know, Nick—doing it in a park doesn't exactly turn  
>  me on ... but—  
>  _(incredulous)_  
>  — beating someone to death?  
>  _(slight headshake)_  
>  Could  you hate someone that much just for  
>  being different?

CUT TO:

65\. EXTREME CLOSE-UP OF NICK

He stares, eyes unfocused, remembering.

> LaCROIX (V.O.)  
>  We are different, Nicholas.

CUT TO:

66\. CLOSE ANGLE FROM ACROSS THE CORRIDOR

In b.g., Reese is walking up the side corridor, with his mug.  Nick is still lost in thought.

CUT TO:

67\. RETURN TO CLOSE-UP OF TRACY

She looks at Nick, waiting for his answer.

CUT TO:

68\. EXTREME CLOSE-UP OF NICK

> NICK  
>  _(refocusing, briskly)_  
>  No, I'm big on  tolerance of lifestyles,  
>  myself.

CUT TO:

69\. CLOSE ANGLE TOWARDS COFFEE MACHINE

Reese is bending over pouring coffee into his mug.  CAMERA SHIFTS OVER TO THE REAR EXIT.  The door is pushed open and Natalie comes in, automatically turning to go down the side corridor.

> REESE (O.S.)  
>  Dr. Lambert.

Natalie turns.

CUT TO:

70\. INSERT—CLOSE-UP OF REESE

He straightens up, mug in hand, putting down the coffee pot.  There is a spoon in the mug.

> NATALIE (O.S.)  
>  Captain Reese.

CUT TO:

71\. RETURN TO CLOSE ANGLE AT REAR OF SQUAD ROOM

Reese joins Natalie.  CAMERA PULLS BACK, HOLDING ON THEM AS THEY WALK UP THE CORRIDOR.  Reese is by the partition.

> NATALIE  
>  I was just coming to fill you in on the Ryan autopsy.

> REESE  
>  Ah, right.

He halts, and Natalie stops a step beyond him, turning to him.  He looks over the partition.

CUT TO:

72\. CLOSE ANGLE TOWARDS SIDE CORRIDOR FROM THE CORNER OF TRACY'S DESK—NICK & TRACY IN F.G.

Reese is leaning over the partition.  Beyond him, Natalie continues along the corridor.

> REESE  
>  Knight, Vetter.  
>  _(continues)_

They look round at him.

> REESE  
>  _(continues)_  
>  You'd better hear this.

They get up.

> NATALIE  
>  _(quickly)_  
>  No, don't bother getting up.  
>  _(continues)_

Natalie rounds the partition to stand by the column near Tracy.  They look in her direction.  Then Tracy reaches back to her chair and sits down.  Nick backs away, leaning against the desk behind him.  As Natalie talks, Reese goes along the corridor.  CAMERA SHIFTS ALONG THE DESKS TO BEHIND THE CORNER OF NICK'S DESK, HOLDING ON REESE IN B.G.

> NATALIE  
>  _(continues)_  
>  Basically, I haven't much to add yet to what I said  
>  at the scene—  
>  _(dry humour)_  
>  —unless you're  dying to hear all the  
>  gory details.  
>  _(pauses)_  
>  Anyway, they'll be in my report—you can read them  
>  there.

Reese comes round behind her, and Natalie glances round at him.

> NATALIE  
>  _(continues)_  
>  However...  
>  _(looks at Nick & Tracy)_  
>  ...this. I thought I'd better tell you straight  
>  off—it may be useful.  I think one of the attackers  
>  may have been wearing a ring.  
>  _(slight pause for effect)_

CUT TO:

73\. INSERT—EXTREME CLOSE-UP OF TRACY

Frowns slightly, intently.

CUT TO:

74\. CLOSE-UP OF NATALIE

> NATALIE  
>  _(continues)_  
>  There's some roughness on his jacket corresponding  
>  to punch marks on his back and chest ... suggesting  
>  that the fabric caught on something.

CUT TO:

75\. INSERT—CLOSE-UP OF NICK

> NICK  
>  _(slight doubt)_  
>  Like a  signet.

CUT TO:

  
76\. RETURN TO CLOSE-UP OF NATALIE

> NATALIE  
>  _(quickly)_  
>  Exactly.  And there's a ...  
>  _(searches)_  
>  ... a  mark in the centre of one of the blows  
>  to the victim's cheek.  
>  _(continues)_

Her right hand goes up to indicate the location on her own face—below the left cheekbone.

> NATALIE  
>  _(continues)_  
>  I can't see much detail, but I'll put a photo in with  
>  the report.

CUT TO:

77\. INSERT—CLOSE-UP OF NICK

He nods.

> TRACY (O.S.)  
>  Anything else?

CUT TO:

78\. RETURN TO CLOSE-UP OF NATALIE

> NATALIE  
>  He tried to put up a fight.  I got tissue  
>  samples off his knuckles and nails.  You catch the  
>  guys who did this ... you won't have any trouble  
>  getting a DNA match, I'm sure of it.

CUT TO:

79\. INSERT—CLOSE-UP OF REESE

Cocks an eye at the detectives.

CUT TO:

80\. RETURN TO MAIN SHOT

Natalie glances at Reese.  Then she nods briskly, softens this with a grin at the detectives, and goes o.s. up the corridor with a backward wave of her hand.  As Reese goes to his office, CAMERA CLOSES IN ON TRACY.  She is tapping the top of the desk thoughtfully with her fingers.

> TRACY  
>  So—o, okay.  Maybe we should look at incidents  
>  in other parks ... or bars maybe.   
>  What'd'you think?

CAMERA SHIFTS OVER TO NICK. Not paying attention.

> TRACY (O.S.)  
>  Nick?

Nick straightens up.

> NICK  
>  _(hesitant)_  
>  I—I—ummmm ... think I'd better be heading off home,  
>  Trace.  
>  _(quick embarrassed smile)_  
>  _(continues)_

CUT TO:

81\. CLOSE-UP OF TRACY

> NICK (O.S.)  
>  _(continues)_  
>  It's ... uh ... getting pretty near dawn, and ummm ....  
>  _(trails off)_

Light dawns on Tracy.  She nods.

> TRACY  
>  _(immediately)_  
>  ... with that allergy to  sunlight you've got—  
>  _(breaks off)_

CUT TO:

82\. INSERT—EXTREME CLOSE-UP OF NICK

Struck with memory.

CUT TO:

83\. INSERT—FROM FLASHBACK SCENE LATER IN THIS ACT— _THE SUN IN THE SKY (3 FRAMES)_

_CUT TO:_

_84\. INT. NICK'S PARLOUR IN THE 1890s—EXTREME CLOSE-UP OF NICK (5 FRAMES)_

_His arms are up to shield his face, which is turned to the left, his eyes screwed up against the light.  A LITTLE SMOKE STARTS TO RISE._

_CUT TO:_

_85\. THE SUN IN THE SKY (3 FRAMES)_

_CUT TO:_

_86\. EXTREME CLOSE-UP OF NICK (5 FRAMES)_

_CUT TO:_

_87\. THE SUN IN THE SKY (3 FRAMES)_

_CUT TO:_

_88\. EXTREME CLOSE-UP OF NICK (5 FRAMES)_

_CUT TO:_

_89\. THE SUN IN THE SKY (3 FRAMES)_

CUT TO:

90\. PRESENT—RETURN TO EXTREME CLOSE-UP OF NICK

> NICK  
>  Exactly.  I'd better be off.

CUT TO:

91\. CLOSE ANGLE FROM CENTRAL CORRIDOR (AS BEFORE)

> TRACY  
>  _(quick reassurance)_  
>  Okay, sure.  I'll  get the paperwork done  
>  before I leave.

> NICK  
>  Thanks.

He turns, and heads o.s. to the rear of the room.

CUT TO:

92\. EXT. POLICE PARKING LOT—NICK'S CAR BACKS OUT—NIGHT

CUT TO:

93\. INSIDE CAR—CLOSE-UP OF NICK

Nick is brooding.  Outside is a downtown street.

> LaCROIX (V.O.)  
>  We are different, Nicholas.  Let them find out  
>  what we are and they will try to destroy  
>  us.  
>  _(continues)_

CUT TO:

94\. EXT. STREET—NICK'S CAR DRIVES ALONG—NIGHT

> LaCROIX (V.O.)  
>  _(continues)_  
>  Whatever you like to say, you still have very ...  
>  special needs.  
>  _(continues)_

CUT TO:

95\. RETURN TO CLOSE-UP OF NICK

> LaCROIX (V.O.)  
>  _(continues)_  
>  Why deny the truth?  Why pretend to be something you  
>  are not?  
>  _(continues)_

CUT TO:

96\. NICK'S CAR DRIVES INTO THE GARAGE—NIGHT (STOCK)

> LaCROIX (V.O.)  
>  _(continues)_  
>  You belong with your  own kind, not with mortals.  
>  _(continues)_

CUT TO:

97\. INT. NICK'S APARTMENT—CLOSE ANGLE TOWARDS ELEVATOR

> LaCROIX (V.O.)  
>  _(continues)_  
>  After all...  
>  _(continues)_

With a RUMBLE, the elevator door is pushed open.

> LaCROIX (V.O.)  
>  _(continues)_  
>  —you  are a vampire.

CAMERA PULLS BACK as Nick walks into the room.  He picks up the remote from the top of the piano, and turns towards the window, where the sky is greying towards dawn.  He presses the remote.  THE SHUTTERS START TO COME DOWN.  CAMERA CLOSES IN.  Nick looks towards the window.

DISSOLVE TO:

98\. FLASHBACK—INT. NICK'S PARLOUR IN 1890s—MED. ANGLE TOWARDS DOOR INTO BEDROOM—DAY

This is the parlour of a three-room apartment (bedroom, kitchen, and parlour), which Nick has rented temporarily.  The furnishings are fairly poor quality—not at all the sort of ritzy place Nick usually stays.  O.S. on the r.s. of the room is a window, with the curtains closed.  On the far left is the door to the hallway, and near it the door into the bedroom.  O.S., opposite the bedroom is the door to the kitchen.  It CREAKS open, and DINAH comes into the parlour, HUMMING a tune.  DINAH COMES ON SCREEN IN F.G. CAMERA TRACKS HER AS SHE HEADS ACROSS THE ROOM TOWARDS THE WINDOW.  She is an attractive young woman working as a cleaner.  She is wearing a long-skirted faded print dress with a worn apron over it, and a scarf around her hair.  O.S. the bedroom door opens.

> NICK (O.S.)  
>  You seem to be in a good mood today.

Dinah stops and turns round, shocked to see him.

> DINAH  
>  Oh, Mr. Forrester.  
>  _(continues)_

CUT TO:

99\. CLOSE-UP OF NICK

He leans against the jamb in his shirt sleeves, with his cuffs undone.  He is smiling.

> DINAH (O.S.)  
>  _(continues)_  
>  I didn' know you was in.

> NICK  
>  That's all right, Dinah.  I was asleep.

CUT TO:

100\. INSERT—CLOSE-UP OF DINAH

> DINAH  
>  What!—at this time of the day?

CUT TO:

101\. RETURN TO CLOSE-UP OF NICK

He smiles, straightens, and takes a step forward.

> NICK  
>  I had a late night.

CUT TO:

102\. EXTREME CLOSE-UP OF DINAH (INTERCUT W/ NICK)

She smiles at him.

CUT TO:

103\. EXTREME CLOSE-UP OF NICK (INTERCUT W/ DINAH)

He smiles back.

CUT TO:

104\. EXTREME CLOSE-UP OF DINAH

Then she looks embarrassed.

CUT TO:

105\. EXTREME CLOSE-UP OF NICK

Still smiling, but watchful.

CUT TO:

106\. RETURN TO MAIN SHOT (MED. ANGLE)

> DINAH  
>  Well ... I gotta work.  
>  _(continues)_

CAMERA HOLDS ON HER AS SHE QUICKLY CROSSES TO THE WINDOW.

> DINAH  
>  _(continues)_  
>  Let me just open these curtains and get some  
>  light in.

CUT TO:

107\. RETURN TO CLOSE-UP OF NICK

He jerks forward slightly in alarm.

CUT TO:

108\. CLOSE-UP OF DINAH—FROM BEHIND, SLIGHTLY TO HER RIGHT

She yanks the curtains open.  Sunlight floods the room.

CUT TO:

109\. THE SUN IN THE SKY (3 FRAMES)

CUT TO:

110\. RETURN TO CLOSE-UP OF NICK

His arms are up to shield his face, which is turned to the left, his eyes screwed up against the light.  A LITTLE SMOKE STARTS TO RISE.

CUT TO:

111\. THE SUN IN THE SKY (3 FRAMES)

CUT TO:

112\. EXTREME CLOSE-UP OF NICK, ARMS OVER HIS FACE (5 FRAMES)

CUT TO:

113\. THE SUN IN THE SKY (3 FRAMES)

CUT TO:

114\. EXTREME CLOSE-UP OF NICK, ARMS OVER HIS FACE (5 FRAMES)

CUT TO:

115\. THE SUN IN THE SKY (3 FRAMES)

CUT TO:

116\. EXTREME CLOSE-UP OF NICK

> NICK  
>  _(strangled)_  
>  Close them!

CUT TO:

117\. RETURN TO MAIN SHOT

Dinah turns round slowly, looking surprised.

CUT TO:

118\. THE SUN IN THE SKY (3 FRAMES)

CUT TO:

119\. RETURN TO CLOSE-UP OF NICK, ARMS UP

> DINAH (O.S.)  
>  Mr. Forrester?

CUT TO:

120\. RETURN TO CLOSE-UP OF DINAH AT THE WINDOW

Puzzled, she turns and shuts the curtains (though there is still a chink at the bottom).  She turns back round.

> DINAH  
>  What's wrong?

CUT TO:

121\. RETURN TO CLOSE-UP OF NICK

> NICK  
>  _(lowers arms, thinking fast)_  
>  The light ... it's too bright.  
>  _(continues)_

CUT TO:

122\. INSERT—EXTREME CLOSE-UP OF NICK

> NICK  
>  _(continues)_  
>  It hurts my eyes.

CUT TO:

123\. INSERT—EXTREME CLOSE-UP OF DINAH—FROM IN FRONT

She turns to the window (TOWARDS THE CAMERA) with a slightly knowing, amused expression.

CUT TO:

124\. RETURN TO CLOSE-UP OF DINAH AT THE WINDOW (FROM BEHIND)

Dinah adjusts the curtains so they are fully closed.

> NICK (O.S.)  
>  Thank you.

Dinah turns round again.

> DINAH  
>  _(tentatively)_  
>  Mr. Forrester ... if you got a hangover, I can mix  
>  you up something'll make you feel  better.

CUT TO:

125\. PRESENT—EXTREME CLOSE-UP OF NICK—FROM THE SIDE, STANDING FACING THE WINDOW

Looking down, he smiles to himself.  CAMERA SHIFTS OVER TO THE WINDOW.  The shutters finish closing.

CUT TO:

126\. INT. NATALIE'S LIVING ROOM—MED. ANGLE TOWARDS LOBBY—DAY

O.S. THE FRONT DOOR CLOSES.  Natalie comes in.  CAMERA PULLS BACK AS SHE WALKS INTO THE MIDDLE OF THE ROOM.  Her cat runs up to her, MEWING.  [NOTE:  grey tabby with white throat and stomach.]

> NATALIE  
>  Hi, there, Sidney.  Sorry I'm late.  
>  _(picking him up)_  
>  Been a long hard night at the morgue.  
>  _(strokes him)_  
>  Say, why don't we see what we've got in the  
>  kitchen ... okay?

SHE HEADS TOWARD THE CAMERA & O.S., but halts suddenly.

> NATALIE (O.S.)  
>  Ah ... hang on—  
>  _(continues)_

NATALIE COMES BACK ON SCREEN IN F.G.

> NATALIE  
>  _(continues)_  
>  —a minute, boy.  
>  _(lets him jump down)_  
>  You mind waiting a bit?  I just thought of something.

She heads across the room to the telephone.

CUT TO:

127\. CLOSE-UP OF NATALIE

Natalie opens the Yellow Pages Directory—

CUT TO:

128\. INSERT—CLOSE-UP OF OPEN YELLOW PAGES BOOK

—and runs her finger down the page under 'Hospitals'.

CUT TO:

129\. RETURN TO CLOSE-UP OF NATALIE

Natalie punches in a number.  The phone RINGS AT THE OTHER END.  Waiting for someone to pick up, Natalie looks rather tired.  She rubs the bridge of her nose.

> NATALIE  
>  Hi—it's Dr. Lambert from the Coroner's Office.  I wondered  
>  if you could do me a favour.

CUT TO:

130\. DAY CITYSCAPE TURNS TO NIGHT (STOCK)

CUT TO:

131\. INT. POLICE STATION—CLOSE ANGLE

Nick is sitting on the corner of his desk, smiling at Tracy, who is grinning at him.  His phone RINGS.  He leans over to pick up the receiver.

> NICK  
>  Detective Knight.

> NATALIE _(on phone)_  
>  I think I  have something for you.

CUT TO:

132\. INT. NATALIE'S OFFICE—MED. ANGLE

Natalie is standing in the middle of the room, in front of her desk.  Over between the autopsy table and the work bench, are Nick and Tracy.

> NATALIE  
>  This morning, after I got home, I thought of something.  
>  _(backs up to her desk)_  
>  So, I decided to phone around ...  
>  _(continues)_

CUT TO:

133\. CLOSE-UP OF NATALIE (NICK & TRACY'S P.O.V.)

> NATALIE  
>  _(continues)_  
>  ... see if any of the hospital  emergency rooms  
>  had dealt with other assaults with similar M.O.s.  
>  _(turns to face desk)_  
>  I came across  this.  
>  _(continues)_

She takes a paper from several on her desk.

CUT TO:

  
134\. INSERT—TWO-SHOT OF TRACY & NICK (NATALIE'S P.O.V.)

They look at one another.

> NATALIE (O.S.)  
>  _(continues)_  
>  I think there's been an earlier case like this one.  
>  _(continues)_

CUT TO:

135\. RETURN TO CLOSE-UP OF NATALIE

Natalie turns round to them.

> NATALIE  
>  _(continues)_  
>  Only the  other victim survived the  
>  attack. If I'm right—  
>  _(continues)_

NATALIE WALKS TOWARDS THE CAMERA, holding out the paper.

> NATALIE  
>  _(continues)_  
>  — you may have a witness who can identify  
>  the murderers. A guy called Sorenson.

SHE HOLDS THE PAPER OUT TO THE CAMERA.

FADE OUT.

**END ACT ONE**

 

* * *

  
  
**ACT TWO**

FADE IN:

136\. VIEW OF BUILDINGS BEHIND THE GARDINER—NIGHT (STOCK)

CUT TO:

137\. EXT. POLICE STATION—NIGHT (STOCK)

> REESE (V.O.)  
>  _(sceptical)_  
>  So  what ... makes Dr. Lambert think this is associated?  
>  _(continues)_

CUT TO:

138\. INT. REESE'S OFFICE—CLOSE-UP OF REESE

Reese is sitting behind his desk, looking up at Nick and Tracy, who are standing in front of him.

> REESE  
>  _(continues)_  
>  Far's  I can see, there's no connection!   
>  Sorenson wasn't attacked in the park.  He wasn't even  
>  stabbed!

CUT TO:

139\. CLOSE-UP OF NICK—ANGLE SLIGHTLY UP (REESE'S P.O.V.)

Nick leans down, his hands on the desk.

> NICK  
>  _(earnest)_  
>  No—but he  was beaten up by a guy wearing  
>  a signet ring.

CAMERA SHIFTS PAST NICK & UP TO INCLUDE TRACY.  She is standing beside (but slightly behind) Nick.

> TRACY  
>  He said he tripped over the curb coming out  
>  of a bar.  Only his injuries didn't match his story.

CUT TO:

140\. RETURN TO CLOSE-UP OF REESE (INTERCUT W/ NICK & TRACY)

Reese SNORTS.

CUT TO:

141\. TWO-SHOT OF NICK & TRACY

Nick straightens up.

> NICK  
>  _(cynical)_  
>  Of course, I'm not saying it didn't happen outside a  
>  bar.

> TRACY  
>  _(meaningfully)_  
>  A  gay bar.

CUT TO:

142\. CLOSE-UP OF REESE

Reese looks thoughtful for a moment.

> REESE  
>  You do realize that ... if it's true ... he's  
>  probably not going to be very cooperative.

CUT TO:

143\. TWO-SHOT OF NICK & TRACY

> TRACY  
>  Maybe not.  But it doubles the victims ... and  
>  doubles our chances.  
>  _(provocative smile)_  
>  Doesn't it?

CUT TO:

144\. CLOSE-UP OF REESE

He looks doubtful, but nods slightly.

CUT TO:

145\. TWO-SHOT OF NICK & TRACY

Still smiling, Tracy turns and heads for the door.  With a glance at Reese, Nick follows.

CUT TO:

146\. INT. SQUAD ROOM—TWO-SHOT AT REESE'S DOOR

Nick and Tracy come slowly towards their desks.

> NICK  
>  He's got a point.  Sorenson's just going to  
>  persist in his accident story.  I'd like proof  
>  he was lying we can confront him with.  
>  _(continues)_

CUT TO:

147\. ANGLE TOWARDS FRONT OF ROOM FROM BEHIND NICK'S DESK

Nick and Tracy pause behind Tracy's desk.

> NICK  
>  _(continues, thoughtful)_  
>  I  think ... I'll try the doctor who was on call at  
>  Toronto General that night.  See if he can compare  
>  Sorenson's injuries with the autopsy report on  
>  Ryan.

> TRACY  
>  _(nods)_  
>  Great.  I'll just ....  
>  _(trails off)_

She makes a little gesture with her index finger in the direction of the corridor to the interrogation room (and the washrooms).

> NICK  
>  Sure.

Nick continues round to his own desk, and Tracy heads o.s.  He sits down, and reaches for the phone.

CUT TO:

148\. FULL SHOT FROM THE FRONT OF THE ROOM

The DESK SERGEANT on night duty is behind the front desk.  Along the front corridor walks IANETTI—a middle-aged male detective with greying curly hair.  As he goes through the gate into the squad room, he raises a hand in greeting to the sergeant.  In b.g., Nick is on the phone.  Ianetti heads up the room to his own desk.  This is one of the desks by the filing cabinets along the wall—the one nearest the door to the interrogation room.

CUT TO:

149\. CLOSE ANGLE ON IANETTI'S DESK—FROM THE CENTRAL CORRIDOR, FROM THE FRONT OF THE ROOM

Ianetti comes up and sits down at his desk.  He pulls open the centre drawer, and rummages inside.

> NICK (O.S.)  
>  You do remember the case, then?  
>  _(pauses)_

Ianetti looks round, curiously.

CUT TO:

150\. INSERT—CLOSE-UP OF NICK—ACROSS THE DESKS FROM THE CORNER OF TRACY'S DESK

> NICK (into phone)  
>  _(continues)_  
>  Really?  But you didn't call the police?  
>  _(breaks off to listen)_  
>  No ... of  course you couldn't.  
>  _(listens)_

CUT TO:

151\. RETURN TO ANGLE ON IANETTI'S DESK

Behind Ianetti, Tracy is walking into the squad room from the corridor to the interrogation room.  Ianetti looks round at her.

> IANETTI  
>  Hey, Vetter—how's it going?

Tracy looks round at him.

> TRACY  
>  _(cheerfully)_  
>  Not sure yet.

CAMERA HOLDS ON TRACY AS SHE CROSSES THE ROOM, CLOSING IN AS SHE GETS TO HER DESK.  She pauses, looking at Nick. CAMERA SHIFTS DOWN TO HIM.  Nick glances round absently, his attention on the phone.

> NICK _(into phone)_  
>  I see your point, Dr. Ramos—but maybe we can jog  
>  your memory.  
>  _(listens)_  
>  Certainly.  That's very good of you.

He hangs up and turns to Tracy.

> NICK  
>  He says he can see us at home ... if we go  
>  over now.

> TRACY  
>  You got his address?

Nick nods as he gets to his feet.

> NICK  
>  It's an apartment off the Danforth.

They turn and head for the rear exit.

CUT TO:

152\. EXT. STREET—NICK'S CAR DRIVES ALONG THE STREET—NIGHT

CUT TO:

153\. VIEW OF THE ROAD THROUGH THE WINDSHIELD—ANGLE FROM THE BACK SEAT

ANGLE SHIFTS TO INCLUDE NICK.

> NICK  
>  Do you mind?

Without waiting for an answer, he leans forward to turn on the radio to LaCroix's 'Nightcrawler' radio broadcast.

CUT TO:

154\. INSERT—CLOSE-UP OF NICK'S HAND TURNING ON THE RADIO

> LaCROIX (on radio)  
>  Dear listeners ....  
>  _(continues)_

CUT TO:

155\. RETURN TO SHOT

Nick sits back in his seat. He does not look at Tracy.

> LaCROIX (on radio)  
>  _(continues)_  
>  Tonight let us talk about frustration ...  
>  _(brief pause)_  
>  ... and  hope.  Hope it is, that  
>  keeps us trying ...  
>  _(continues)_

CUT TO:

156\. INT. BROADCAST BOOTH—EXTREME CLOSE-UP OF LaCROIX

Stark blue lighting from behind LaCroix on the right.

> LaCROIX (into microphone)  
>  _(continues)_  
>  ... in the face of repeated failure.   Hope ...  
>  keeps us trying when all hope is lost.  
>  _(continues)_

CUT TO:

157\. EXTREME CLOSE-UP OF LaCROIX'S MOUTH

> LaCROIX  
>  _(continues, with pleasure)_  
>  The  cruelest emotion.  
>  _(pauses)_

CUT TO:

158\. EXTREME CLOSE-UP OF NICK IN CAR

Nick looks distressed.

> LaCROIX (on radio)  
>  _(continues)_  
>  Hope ... is your enemy.  I ... am  
>  your friend.

  
CUT TO:

159\. ONE FRAME OF WHITE

CUT TO:

160\. FLASHBACK (FROM `Dark Knight: The Second Chapter', Act One)— _INT. BUILDING IN 1228—TWO-SHOT OF NICK & LaCROIX_

_LaCroix puts his right hand up, and grabs Nick's chin._

> _LaCROIX_  
>  _ You are a blessed man, Nicholas._

_CUT TO:_

_161\. FLASHBACK—FROM 'Near Death'—INT. MEDIEVAL ROOM—CLOSE TWO-SHOT OF NICK & LaCROIX_

_Nick lies down, sucking blood from LaCroix's wrist._   [V.O. from `Dark Knight: The Second Chapter', Act One.]

> _LaCROIX (V.O.)_  
>  _You'll live longer than in your wildest  
>  dreams.  You will see life begin, ... and end, and begin  
>  anew._

CUT TO:

162\. ONE FRAME OF WHITE

CUT TO:

163\. FLASHBACK (FROM 'Dark Knight: The Second Chapter', Act One)— _INT. BUILDING IN 1228—TWO-SHOT OF NICK & LaCROIX_

_Nick grabs LaCroix's hand down from his chin, holding it hard between them._

> _NICK_  
>  _(after a pause, intense)_  
>  _I shall repay you._

_He inclines his head, and kisses LaCroix's hand._

DISSOLVE TO:

164\. PRESENT—NICK'S CAR DRIVES ALONG THE STREET

CUT TO:

165\. RETURN TO EXTREME CLOSE-UP OF NICK IN CAR

> LaCROIX _(on radio)_  
>  Accept life ... as it is, dear friend. Accept  
>  what is ...  
>  _(harsh whisper)_  
>  ... and what can  never be.

CUT TO:

166\. ONE FRAME OF WHITE

CUT TO:

167\. FLASHBACK— _INT. BUILDING—TWO-SHOT OF NICK & LaCROIX_

> _NICK_  
>  _(urgent)_  
>  _I want to go back._

> _LaCROIX_  
>  _(slightly amused)_  
>  _It's much too late for that now._

CUT TO:

168\. PRESENT—RETURN TO EXTREME CLOSE-UP OF NICK

He looks distressed.  [V.O. from the same flashback in `Dark Knight: The Second Chapter'.]

> _NICK (V.O.)_  
>  _You've made me a murderer._

CUT TO:

169\. FLASHBACK—FROM `Love You to Death'— _EXTREME CLOSE-UP OF NICK_

> _NICK_  
>  _My whole life haunts me._

CUT TO:

170\. PRESENT—RETURN TO EXTREME CLOSE-UP OF NICK

He looks distressed.  [V.O. repeated from `Dark Knight: The Second Chapter'.]

> _NICK (V.O.)_  
>  _I want to go back._

CUT TO:

171\. ONE FRAME OF WHITE

CUT TO:

172\. QUICK FLASHBACK—FROM 'Faithful Followers'— _CLOSE-UP OF THE FAKE EGYPTIAN PAPYRUS_

CUT TO:

173\. QUICK FLASHBACK—FROM 'Let No Man Tear Asunder— _CLOSE ANGLE ON NICK STRAPPED DOWN TO THE TABLE_

CUT TO:

174\. QUICK FLASHBACK—FROM 'Cherry Blossoms'— _EXTREME CLOSE-UP OF NICK'S HAND AS AN ACUPUNCTURE NEEDLE IS INSERTED_

CUT TO:

175\. QUICK FLASHBACK—FROM 'Dark Knight'— _CLOSE-UP OF JADE CUP_

CUT TO:

176\. ONE FRAME OF WHITE

CUT TO:

177\. FLASHBACK—FROM 'Father's Day'— _EXT. ALLEYWAY—EXTREME CLOSE-UP OF LaCROIX (O.S. NICK IS PINNED AGAINST WALL)_

> _LaCROIX_  
>  _(snarls)_  
>  _You will stop this pathetic search—_  
>  _(continues)_

_CUT TO:_

_178\. CLOSE-UP OF NICK, PINNED AGAINST THE WALL_

> _LaCROIX (O.S.)_  
>  _(continues)_  
>  _—for a cure._

CUT TO:

179\. ONE FRAME OF WHITE

CUT TO:

180\. PRESENT—RETURN TO EXTREME CLOSE-UP OF LaCROIX

He turns to speak directly into the camera.

> LaCROIX  
>  _(continues)_  
>  Abandon hope, my child!  Success ...  
>  will never be yours.  Failure is your  
>  only fate ...

CUT TO:

181\. RETURN TO EXTREME CLOSE-UP OF NICK IN CAR

> LaCROIX (V.O., echo)  
>  _(continues)_  
>  ... unless you listen to ...  
>  _(pause)_  
>  ... the Nightcrawler.

There is a tense pause, as Nick contemplates this.

> TRACY (O.S.)  
>  _(disgust)_  
>  Oh, turn it off, Nick!  
>  _(continues)_

Nick starts.

CUT TO:

182\. INSERT—NICK'S CAR DRIVES DOWN THE STREET

> TRACY (V.O.)  
>  _(continues)_  
>  That ' Nightcrawler' guy—  
>  _(continues)_

CUT TO:

183\. CLOSE-UP OF TRACY

Looking at Nick with an expression of distaste, gesturing with her right arm lifted, palm up.

> TRACY  
>  _(continues)_  
>  —bugs the  hell out of me. I don't know how  
>  you can listen to him all the time!

CUT TO:

184\. RETURN TO EXTREME CLOSE-UP OF NICK

> NICK  
>  _(glance at Tracy)_  
>  I suppose he's something of an acquired taste.

CUT TO:

185\. RETURN TO CLOSE-UP OF TRACY

She wrinkles her nose in disgust.

> TRACY  
>  Well ... I don't know where—  
>  _(continues)_

CUT TO:

186\. NICK'S CAR DRIVES ALONG THE STREET

> TRACY (V.O.)  
>  _(continues)_  
>  —the hell you  acquired him!

CUT TO:

187\. NIGHT VIEW OF THE HARBOUR (STOCK)

CUT TO:

188\. INT. SQUAD ROOM—CLOSE ANGLE ON REAR EXIT AT THE END OF THE CENTRAL CORRIDOR

Tracy pushes the door open, Nick on her heels.

> TRACY  
>  _(vigorously)_  
>  Sorenson ...  
>  _(continues)_

She holds the door for a moment, looking at Nick.

> TRACY  
>  _(continues, vigorous)_  
>  ... is  toast.  
>  _(continues)_

Nick comes in past her, and she lets the door go.

> TRACY  
>  _(continues, indignant)_  
>  You  realize if he'd reported it back  
>  then we'd maybe have caught the guys and  
>  Ryan wouldn't have been killed?

She strides along into the room.  Nick follows, looking amused.  CAMERA PULLS BACK, HOLDING ON THEM.  REESE COMES ON SCREEN IN THE CONFERENCE AREA.  His back is turned to them and he is talking to a couple of uniformed officers.  However, as Nick and Tracy go past, he realizes they are there, and turns his head to them.

> REESE  
>  Knight, Vetter—whatcha got?

They pause.

> NICK  
>  _(to Tracy)_  
>  I'll go and phone.  You fill him in.

Tracy hesitates—but decides not to protest.  She nods, and turns back to Reese, who is coming to meet her.  CAMERA CLOSES IN ON THEM.  Nick goes o.s.

> TRACY  
>  We've been checking with the doctor who treated  
>  Sorenson.  No way did he just have a fall!   
>  Dr. Ramos thought he got mugged, but didn't  
>  want the hassle of reporting it to the police.

> REESE  
>  Uh-huh.

> TRACY  
>  In fact ... Sorenson didn't even want to go to  
>  hospital.  He was stumbling along the street and  
>  some Good Samaritan insisted on calling an  
>  ambulance on their cell phone.

CUT TO:

189\. CLOSE ANGLE ON NICK FROM BEHIND

Nick is half-sitting on the side of his desk, facing the front of the room, and talking on the phone.  CAMERA CLOSES IN AS HE TALKS, & CIRCLES ROUND TO THE FRONT.

> NICK  
>  _(polite)_  
>  I  understand your husband didn't want to press  
>  charges, Mrs. Sorenson.  But you see ... we think  
>  that the assault on him may possibly be  
>  connected with another case we're working on.  
>  _(listens)_

CAMERA PULLS BACK AS TRACY COMES ON SCREEN IN B.G.  Nick glances round, then returns his attention to the phone.

> NICK  
>  _(firm but pleasant)_  
>  Yes, of course.  Ask him to call us when he gets in, please.

He reaches over to hang up the phone.  CAMERA ADJUSTS TO TWO-SHOT AS HE SWINGS ROUND TO TRACY.  He smiles wryly.

> TRACY  
>  Any bets we'll have to chase him up tomorrow?

> NICK  
>  _(cheerful)_  
>  Nope.  But knocking on his door at two in the morning  
>  with his  wife there ... won't exactly  
>  make him eager to cooperate.

> TRACY  
>  _(grins)_  
>  He's going to be even  less eager when he realizes  
>  just which case we think his "mugging"'s connected  
>  with.

Nick twinkles at her.

CUT TO:

190\. EXT. NICK'S BUILDING—ANGLE UP TO ROOF—DAY (STOCK)

[The phone RINGS.]

CUT TO:

191\. INT. NICK'S APARTMENT—ANGLE TOWARDS BATHROOM DOOR—TELEPHONE TABLE IN F.G.

The shutters are over the windows, and the light on in the bathroom.  THE PHONE RINGS.  After a moment, the door opens and Nick comes out wearing his dressing gown, with a towel over his shoulder.  The phone RINGS again.  He walks over (TOWARDS THE CAMERA), and picks up the phone.

> NICK  
>  Knight.

CUT TO:

192\. INT. NATALIE'S APARTMENT—CLOSE-UP OF NATALIE

The phone is cradled on her shoulder.  The apartment is lit by sunlight coming through the windows (o.s.).

> NATALIE  
>  _(lightly)_  
>  Nick, it's Natalie.  You  will remember today  
>  to take the pills I gave you, won't you?

CUT TO:

193\. INT. NICK'S APARTMENT—CLOSE-UP OF NICK—ANGLE FROM THE KITCHEN (INTERCUT W/ NATALIE)

> NICK  
>  _(blandly)_  
>  Of course. In fact—  
>  _(continues)_

CUT TO:

194\. INSERT—EXTREME CLOSE-UP OF TOP OF TELEPHONE TABLE—(SAME ANGLE, BUT DOWNWARDS)

With his free hand, Nick picks up a silver pill box (the one from "Be My Valentine") from the table near the phone.

> NICK (O.S.)  
>  _(continues)_  
>  —I've got them right here.  
>  _(pauses)_

CAMERA HOLDS ON NICK'S HAND AS HE RAISES THE BOX.

> NICK  
>  _(continues, teasing)_  
>  You want to make a  house call, you can watch  
>  me take them!  
>  _(continues)_

CUT TO:

195\. CLOSE-UP OF NATALIE

> NICK (on phone)  
>  _(continues, fondly)_  
>  As far as  you're concerned—  
>  _(continues)_

CUT TO:

196\. CLOSE-UP OF NICK

> NICK  
>  _(continues, smiling)_  
>  —a visit from the doctor is  always welcome.

CUT TO:

197\. CLOSE-UP OF NATALIE

Natalie hangs up, smiling herself.

CUT TO:

198\. CLOSE-UP OF NICK

His other hand comes up from putting down the phone, and he opens the pill box he is holding.

CUT TO:

199\. EXTREME CLOSE-UP OF THE PILL BOX

Nick's hand flips the box open, showing the inscription on the lid.  There are several pills inside.

DISSOLVE TO:

  
200\. FLASHBACK—INT. PARLOUR IN 1890s—TWO-SHOT AT THE DOOR TO THE HALL—NIGHT

[Lamplight.]  Dinah looks up shyly; Nick smiles down.

> NICK  
>  _(slightly seductive)_  
>  You work too hard, you know.

She draws back slightly, reserved.

> DINAH  
>  It's my job, Mr. Forrester, that's all.  But long as my ma's  
>  sick, I'll be coming round to clean your place for you.

She opens the door and leaves.  The door closes behind her, but Nick keeps looking at it.  FLIGHT SOUND EFFECT. O.S.  LaCroix has flown in the open window.

> LaCROIX (O.S.)  
>  _(slight condescension)_  
>  She's quite ... lovely , Nicholas.  
>  _(continues)_

Hearing him, Nick whirls round confrontationally.

CUT TO:

201\. ANGLE ACROSS THE ROOM TO THE WINDOW

> LaCROIX  
>  _(continues)_  
>  But then, I always  did say you had an eye for  
>  a pretty face.  
>  _(continues)_

CUT TO:

202\. CLOSE-UP OF NICK (INTERCUT W/ LaCROIX)

> LaCROIX (O.S.)  
>  _(continues, dry)_  
>  Though I should have  thought—  
>  _(continues)_

CUT TO:

203\. CLOSE-UP OF LaCROIX

> LaCROIX  
>  _(continues, contempt)_  
>  —you could have done better than a common  scrub  
>  woman!  
>  _(continues)_

CUT TO:

204\. CLOSE-UP OF NICK

A flash of indignation.

> LaCROIX (O.S.)  
>  _(continues, patronizing)_  
>  After all...  
>  _(continues)_

CUT TO:

205\. CLOSE-UP OF LaCROIX

> LaCROIX  
>  _(continues)_  
>  ...  you have courted queens in your time.

CUT TO:

206\. CLOSE-UP OF NICK

Nick looks at LaCroix with distaste.  After a moment ...

> NICK  
>  _(flat)_  
>  I thought I had managed to  lose you for once.

CUT TO:

207\. RETURN TO ANGLE ACROSS ROOM TO THE WINDOW

LaCroix looks around the room scornfully.

> LaCROIX  
>  Ahhhh ... is that why you're staying in this slum?   
>  I had hoped that she was the attraction.

CUT TO:

208\. CLOSE-UP OF NICK

Stubborn.  Awaiting yet another lecture.

> NICK  
>  You know why I'm here.

CUT TO:

209\. CLOSE-UP OF LaCROIX

> LaCROIX  
>  _(distaste)_  
>  Oh, yes.  You're seeking  salvation once again.  
>  _(sudden outraged fury)_  
>  In  Dr. Hendrick's morgue!

CUT TO:

210\. CLOSE-UP OF NICK

Stubborn, strained defiance.

CUT TO:

211\. EXTREME CLOSE-UP OF LaCROIX

CUT TO:

212\. PRESENT—RETURN TO CLOSE-UP OF NICK

He looks strained.

CUT TO:

213\. INSERT—EXTREME CLOSE-UP OF PILL BOX

He snaps the box shut.

CUT TO:

214\. RETURN TO CLOSE-UP OF NICK

He puts the box down, and then turns.

CUT TO:

215\. RETURN TO ANGLE TOWARDS BATHROOM (AS AT START OF SCENE)

Nick walks to the bathroom, taking the towel off his shoulder as he goes.

CUT TO:

216\. THE 401—LONG SHOT—DAY

CUT TO:

217\. HIGHWAY REST STOP—LONG SHOT—DAY

RICH ORTON drives a truck carrying wine to a Liquor Control Board warehouse in Toronto.  In b.g., he comes out of the restaurant with coffee and a bag of doughnuts.  He heads for his truck (o.s.) in the parking lot.

CUT TO:

218\. CLOSE-UP OF ORTON

AS HE WALKS PAST THE CAMERA, IT TURNS TO HOLD ON HIM.  He walks off into the b.g., across the parking lot, heading for his truck—a large delivery van.

CUT TO:

219\. CLOSE ANGLE ALONG ORTON'S TRUCK FROM BEHIND

Orton walks up to and alongside his truck to the cab.

CUT TO:

220\. CLOSE-UP OF ORTON

He opens the door and gets in the driver's seat.

CUT TO:

221\. INSIDE TRUCK—CLOSE-UP OF ORTON

Orton gets in and pulls the door closed.  He puts the cup of coffee down on the dashboard, and fumbles with the bag.  CAMERA CLOSES IN A BIT ON THE BAG.  Orton takes out a doughnut.  CAMERA HOLDS ON THE DOUGHNUT as Orton raises it to his mouth, and bites into it, holding it between his teeth.  He puts the bag down on the seat beside him (o.s.), and reaches forward (to start the motor).

CUT TO:

222\. INSERT—EXTREME CLOSE-UP OF IGNITION

He starts the truck.  SOUND OF THE TRUCK STARTING.

CUT TO:

223\. RETURN TO CLOSE-UP OF ORTON

CAMERA SHIFTS ROUND TO A VIEW THRU THE WINDSHIELD.  The truck starts to move.

CUT TO:

224\. PARKING LOT—MED. ANGLE ON THE TRUCK PULLING AWAY

CUT TO:

225\. LONG SHOT OF THE TRUCK DRIVING ALONG THE 401—FROM BRIDGE OVER THE 401—DAY

CUT TO:

226\. THRU THE WINDSHIELD

The truck drives along the 401.  Ahead is a sign indicating a forthcoming exit.

CUT TO:

227\. CLOSE ANGLE ON THE TRUCK—FROM IN FRONT

CAMERA HOLDS ON THE TRUCK AS IT DRIVES ALONG.  The turn signal starts blinking.

CUT TO:

228\. CLOSE ANGLE ON THE TRUCK—FROM BEHIND

The truck pulls off at an exit.

CUT TO:

229\. EXT. SIDE STREET—ANGLE ALONG UP TO THE INTERSECTION WITH A MAIN STREET

Partway up the street on r.s. is a large driveway—not to a house, but to some industrial or commercial building.  In b.g., the truck turns down the side street.  CAMERA PULLS BACK OVER EMERGENCY BARRIERS THAT BLOCK THE STREET IN EXTREME F.G.  Orton drives up to them and stops.

CUT TO:

230\. CLOSE ANGLE ON DRIVER'S DOOR

Orton opens it and gets out.

CUT TO:

231\. ANGLE DOWN THE STREET IN THE OPPOSITE DIRECTION—EMERGENCY BARRIERS IN F.G.

No one is there.  Nor is there any sign of an emergency.

CUT TO:

232\. RETURN TO ANGLE UP TO THE MAIN STREET

Orton moves forward, with a slight swagger (since he's doing something he supposes he oughtn't).  He comes up to the barriers (in f.g.) and starts to shift them.

CUT TO:

233\. CLOSE ANGLE ON ENTRANCE TO DRIVEWAY

Suddenly a car drives at speed out of the driveway, SCREECHES into a turn and heads for the truck.

CUT TO:

234\. RETURN TO ANGLE UP TO THE MAIN STREET

The car pulls sharply up beside the truck, and MEN WITH SKI MASKS jump out.  In f.g., Orton turns, startled.  The men leap at him. A brief struggle ends with Orton's being knocked unconscious with a blow over the head.

CUT TO:

235\. CLOSE-UP OF ORTON—LOW ANGLE DOWN ALONG HIS BODY, WITH HIS HEAD TOWARDS THE CAMERA

Orton lies unconscious.  O.S. THE CAR & TRUCK DRIVE OFF.

FADE OUT.

 

**END ACT TWO**

 

* * *

  
  
**ACT THREE**

FADE IN:

236\. EXT. STREET WHERE ORTON WAS ATTACKED—CLOSE ANGLE ON POLICE CAR—DAY

There are several onlookers on the sidewalk.  CAMERA MOVES BACK & SHIFTS OVER TO A UNIFORMED POLICEMAN IN THE MIDDLE OF THE ROAD.  He is turned, looking up the street to the main road.  A SIREN can be heard in the distance.  CAMERA PULLS BACK DOWN THE STREET. Orton is still lying in the road in front of the barriers.  Some feet away, a woman is staring fixedly at the apparent 'accident' scene.  A uniformed policewoman is squatting beside Orton.  She gets up.  In b.g., an ambulance turns the corner, its SIREN going.  It pulls up by the first policeman, and the driver gets out.

LAP-DISSOLVE TO:

237\. CLOSE ANGLE TOWARDS THE BARRIERS

Ambulance attendants load Orton onto a stretcher.  He has a neck brace on.

CUT TO:

238\. ANGLE UP TO MAIN STREET

The ambulance attendants take Orton over to the waiting ambulance, and load him in.

CUT TO:

239\. INT. REESE'S OFFICE—MED. ANGLE—DAY

Reese is standing in front of the filing cabinet in the corner, looking through one of the drawers.  The phone on his desk RINGS.  He turns, leaving the drawer open, and picks up the phone.

> REESE  
>  Captain Reese speaking.  
>  _(listens)_  
>  That sounds nasty.  What did they get?  
>  _(listens, then snorts)_  
>  Someone's planning one  hell of a party!

CUT TO:

240\. EXT. NICK'S BUILDING—DAY (STOCK)

CUT TO:

241\. INT. NICK'S KITCHEN—CLOSE-UP OF NATALIE

A coffee percolator is going, and Natalie is by the counter, waiting.  A mug is on the counter.

CUT TO:

242\. ANGLE UP TO NICK FROM THE TV

He reaches down (TO THE CAMERA) to switch on the TV, and then backs away turning.  LIGHTING INDICATES THAT THE TV IS ON.  Nick goes down the room to the refrigerator.

> MARK SEYMOUR (anchor on TV)  
>  ... top story this hour is the ongoing hostage crisis  
>  in the Middle East.  The situation continues—  
>  _(continues)_

CUT TO:

243\. CLOSE-UP OF NICK AT THE REFRIGERATOR

Nick is getting out a bottle of blood.  There are several in the fridge, plus a carton of Half and Half.

> MARK SEYMOUR (on TV)  
>  _(continues)_  
>  —to deteriorate ....  
>  _(fades out)_

> NATALIE  
>  _(lightly)_  
>  I hope that's not what I  think it is.  
>  _(continues)_

ANGLE SHIFTS OVER SO THE FRIDGE IS ON R.S. WITH THE KITCHEN BEHIND.  Natalie has turned towards Nick, and taken a step away from the counter.

> NATALIE  
>  _(continues, lightly)_  
>  You know ... I keep  telling you—you must  
>  stop drinking that stuff.  
>  _(continues)_

Nick closes the fridge, and steps sideways to talk to her, the bottle in his hand.  CAMERA SHIFTS ROUND MORE.

> NATALIE  
>  _(continues, lightly)_  
>  It seems like every time I come  in here, I find  
>  you with a bottle in your hand—  
>  _(gestures to fridge)_  
>  —and a half a  dozen of them in your fridge.   
>  You're the vampire who asked me to help  
>  you become mortal again.  
>  _(mock stern)_  
>  Normal people do not drink cow's blood.

> NICK  
>  _(rhetorical, smiling)_  
>  Well, what do you  want me to drink?  You  
>  know I can't keep down solid food.  
>  _(little laugh)_  
>  _(waggles bottle at her)_  
>  And I need  something to wash down those  
>  vitamin pills of yours!

Natalie smiles, and turns back to the counter.  THE NEWS FADES BACK IN.  Nick goes into the kitchen for a glass.

> MARK SEYMOUR (on TV)  
>  ... and that's the latest on the Near East situation  
>  from our correspondent in Jerusalem.  
>  _(continues)_

Natalie shifts as Nick reaches past her to get the glass off the shelf.

> MARK SEYMOUR (on TV)  
>  _(continues)_  
>  And now for the  local news.  Police have no leads  
>  as yet—  
>  _(continues)_

Nick crosses to the table, where he puts down the glass, pulls the cork out, and fills the glass with blood.

> MARK SEYMOUR (on TV)  
>  _(continues)_  
>  —in the murder of  Charles Ryan in High Park.  
>  _(continues)_

Natalie's coffee is ready.  She picks the pot up.

> MARK SEYMOUR (on TV)  
>  _(continues)_  
>  The city's gay community is concerned that—  
>  _(drowned out)_

CUT TO:

244\. INSERT—EXTREME CLOSE-UP OF THE MUG ON THE COUNTER

Coffee is POURED noisily into the mug.

CUT TO:

245\. INSERT—CLOSE-UP OF NATALIE AT COUNTER

[As Natalie stops pouring coffee into the mug, the news becomes audible again.]

> MARK SEYMOUR (on TV)  
>  More on this story later.  A truck carrying—  
>  _(continues)_

CUT TO:

246\. RETURN TO MAIN SHOT

Natalie heads for the fridge, leaving the mug on the counter.

> MARK SEYMOUR (on TV)  
>  _(continues)_  
>  —a delivery of wine to the Liquor Control Board  
>  warehouse in Toronto was hijacked this afternoon.  And,  
>  in a surprise turnaround, City Councillor Lauren Norwood—  
>  _(continues)_

CUT TO:

247\. ANGLE—TABLE IN F.G., REFRIGERATOR IN B.G.

Nick is now sitting at the elevator-side of the table.  Natalie goes round to the fridge and opens the door.

> MARK SEYMOUR (on TV)  
>  _(continues)_  
>  —has  endorsed the proposed reversal of  
>  no-smoking regulations ....  
>  _(fades out)_

> NICK  
>  Uh, Nat—I think the cream's gone sour.

CUT TO:

248\. INSERT—CLOSE-UP OF TOP SHELF OF REFRIGERATOR

Natalie reaches in and picks up the carton of Half and Half.  CAMERA SHIFTS ROUND, HOLDING ON THE CARTON, AS SHE TAKES IT OUT.  She opens it and smells it.

> NATALIE  
>  Ugh. You are so right.

CUT TO:

249\. RETURN TO SHOT

Natalie pinches the carton shut, and holds it melodramatically at arm's length, pushing the fridge door shut.

> NICK  
>  There's some Coffeemate around somewhere, I think.

> NATALIE  
>  _(lightly sarcastic)_  
>  You wouldn't happen to remember  where,  
>  by any chance?

CUT TO:

250\. INSERT—CLOSE-UP OF NICK (FROM IN FRONT)

He grins, apologetically.

CUT TO:

251\. RETURN TO SHOT

> NATALIE  
>  Why am I not surprised?  
>  _(pauses)_

Natalie walks back to the kitchen.  CAMERA ADJUSTS, HOLDING HER IN FOCUS IN B.G. & KEEPING NICK IN F.G.  As she passes the table, she holds the carton up.

> NATALIE  
>  _(continues)_  
>  The trouble is ... I'm just not here often enough to  
>  use this stuff up.

She opens the cupboard under the sink and puts the carton in the garbage.

DISSOLVE TO:

252\. SUNSET (STOCK)

DISSOLVE TO:

253\. EXTREME CLOSE-UP OF BOTTLE & GLASS ON THE DINING TABLE

Nick's glass is empty and the bottle nearly so.  CAMERA PULLS BACK TO CLOSE-UP OF NICK.  Nick gets up from the table.  At the other end (o.s.), Natalie nurses her mug.  CAMERA PULLS BACK, HOLDING ON NICK AS HE WALKS ALONG THE TABLE ON THE KITCHEN SIDE.  He pats Natalie's shoulder, and she turns her head to look at him as he goes by.  CAMERA PULLS BACK, HOLDING ON NICK.  He heads down the room to the living room area, and sits in his armchair.  In b.g., Natalie gets up, picking up her mug.

CUT TO:

254\. CLOSE ANGLE ON NATALIE——FROM OVER SINK UNIT

Belatedly, she also picks up Nick's glass, grimaces wryly, and then heads into the kitchen (TOWARDS THE CAMERA).  CAMERA PULLS BACK OVER THE SINK UNIT.  Natalie leaves the mug and glass by the sink.  She turns round.

CUT TO:

255\. RETURN TO REVERSE PERSPECTIVE—NICK F.G., NATALIE B.G.

Nick is looking pensive.

> LaCROIX (V.O.)  
>  _(demanding, intense)_  
>  Take her, Nicholas.  
>  _(continues)_

CUT TO:

256\. FLASHBACK—INT. PARLOUR IN 1890s—EXTREME CLOSE-UP OF LaCROIX'S FACE (INTERCUT W/ NICK)

O.S. Nick stands just in front of LaCroix.

> LaCROIX  
>  _(continues)_  
>  Make her  yours.  Enjoy her...  
>  _(continues)_

CUT TO:

257\. PRESENT—EXTREME CLOSE-UP OF NICK (SAME ANGLE)

Stressed.  Swallows hard at the tempting thought.

> LaCROIX (O.S.)  
>  _(continues, husky)_  
>  ...  all of her ...  
>  _(hard)_  
>  ... as no mere—  
>  _(continues)_

CUT TO:

258\. FLASHBACK—RETURN TO EXTREME CLOSE-UP OF LaCROIX'S FACE

> LaCROIX  
>  _(continues)_  
>  — mortal man ever could.

CUT TO:

259\. TWO-SHOT FAVOURING NICK

> NICK  
>  _(strained, low)_  
>  Dinah is under my  protection, LaCroix.  I will  
>  not take advantage of her innocence.

CAMERA SHIFTS ROUND TO FAVOUR LaCROIX.

> LaCROIX  
>  _(patronizing)_  
>  Really, Nicholas.  How many times  
>  have I heard you say that?  
>  _(brief pause)_

CUT TO:

260\. ONE FRAME OF WHITE

CUT TO:

261\. FLASHBACK—FROM 'Crazy Love'— _EXTREME CLOSE-UP OF AMALIA_

_She looks up at Nick, smiling._

_CUT TO:_

_262\. FLASHBACK—FROM 'Love You to Death'—EXTREME CLOSE-UP OF DANCER_

_She looks up to Nick._

_CUT TO:_

_263\. FLASHBACK—FROM 'Trophy Girl'—EXTREME CLOSE-UP OF LISIELLE_

_Smiling delightedly after Nick has kissed her._

CUT TO:

264\. ONE FRAME OF WHITE

CUT TO:

265\. RETURN TO TWO-SHOT

> LaCROIX  
>  _(gentle superiority)_  
>  Do you  really think you are protecting her?  
>  _(meaningfully)_  
>  We  both know where that leads ...  
>  _(pauses)_

Nick looks strained.

> LaCROIX  
>  _(continues)_  
>  ...  don't we?

He smiles nastily at Nick.

CUT TO:

266\. ONE FRAME OF WHITE

CUT TO:

267\. FLASHBACK—FROM `Trophy Girl'— _CLOSE TWO-SHOT OF NICK & LISIELLE—FAVOURING NICK_

_He reaches out to Lisielle._

_CUT TO:_

_268\. CLOSE TWO-SHOT FAVOURING LISIELLE_

_Nick kisses her, and then turns her around (SO SHE FACES THE CAMERA).   He draws back.   HEARTBEAT STARTS.   He bends her neck to the side, and she turns her head away (EXTREME CLOSE-UP OF LISIELLE)._

_CUT TO:_

_269\. CLOSE-UP OF DOOR_

_LaCroix opens it and comes in; but pauses in the doorway._

_CUT TO:_

_270\. TWO-SHOT OF NICK & LISIELLE_

_He is behind her, kissing her right shoulder._

> _LISIELLE_  
>  _Ah, Nicolas._

_He moves to her other side, shifting her hair so he can kiss her on her other shoulder.  She is delighted._

_CUT TO:_

_271\. EXTREME CLOSE-UP OF LISIELLE'S SHOULDER—NICK BEHIND HER_

_He kisses her shoulder._

_CUT TO:_

_272\. INSERT—EXTREME CLOSE-UP OF LISIELLE—FROM RIGHT SIDE_

_Nick's hand comes up, and pulls her head sideways._

_CUT TO:_

_273\. RETURN TO SHOT_

_Nick pulls Lisielle's head to the side._

_CUT TO:_

_274\. INSERT—CLOSE-UP OF LaCROIX IN THE DOORWAY_

_CUT TO:_

_275\. RETURN TO SHOT_

_Nick throws his head back (showing his fangs), and then bites Lisielle's neck.  She GASPS.  He starts to drink._

_CUT TO:_

_276\. INSERT—CLOSE-UP OF LaCROIX IN THE DOORWAY_

_CUT TO:_

_277\. RETURN TO SHOT_

_Nick finally stops drinking.  CAMERA HOLDS ON THEM AS HE DROPS LISIELLE'S BODY BACK ON THE BED.  Realizing LaCroix is present, Nick turns his head towards the doorway._

_CUT TO:_

_278\. EXTREME CLOSE-UP OF NICK_

_He is slammed up against the wall by LaCroix (o.s.).  Blood is trickling from the right corner of his mouth.  CAMERA SHIFTS TO LaCROIX.  He is holding Nick pinned.  He snarls at Nick.  CAMERA SHIFTS TO NICK._

> _NICK_  
>  _I'm sorry.  I'm sorry—I don't know—I was only  
>  trying to protect her._

CUT TO:

279\. RETURN TO TWO-SHOT

Nick is clearly under stress from the memory.

> LaCROIX  
>  _(calm)_  
>  And now you protect this ...  
>  _(fake uncertainty)_  
>  ...  Dinah?  Was that her name?  
>  _(pauses, smiles)_  
>  I don't know  why you try to delude yourself,  
>  Nicholas.  
>  _(insinuatingly)_  
>  We  both know the rest of this story.  
>  _(continues)_

CUT TO:

280\. PRESENT—RETURN TO CLOSE ANGLE ON NICK, FROM IN FRONT

Slumped back, Nick stares at the fireplace (o.s.), his arms lying loosely on the arms of the chair.

> LaCROIX (V.O.)  
>  _(continues)_  
>  You WILL kill her in the end, you know.  
>  _(continues)_

CUT TO:

281\. INSERT—FLASHBACK—EXTREME CLOSE-UP OF LaCROIX

> LaCROIX  
>  _(continues, dry)_  
>  You always  do.

CUT TO:

282\. PRESENT—RETURN TO CLOSE ANGLE

CAMERA CLOSES IN as Nick continues to stare pensively at the fireplace (o.s.).  NATALIE COMES ON SCREEN, walking up behind his chair.  She puts her hands out on the back, and leans over Nick.  Suddenly he realizes she is there.

LAP-DISSOLVE TO:

283\. EXTREME CLOSE-UP OF NICK (SAME ANGLE)

He smiles and tilts his head back to look at her.

> NICK  
>  You know, Nat—you should be a fairy with a magic wand.  
>  _(continues)_

CUT TO:

284\. RETURN TO TWO-SHOT OF NICK AND NATALIE

Natalie bends down intimately close to his right ear.  CAMERA CLOSES IN.

> NICK  
>  _(continues)_  
>  You could just wave it and say `Abracadabra'.  We  
>  could get married and live happily ever after.  Sound  
>  good?

> NATALIE  
>  _(in his ear, lightly)_  
>  I think it's  wizards who say 'Abracadabra'.

She moves back slightly as he turns his head.

> NICK  
>  Whatever.

CAMERA PULLS BACK SLIGHTLY.  She straightens up, putting her hands out to the corners of the back of his chair.

> NATALIE  
>  _(dryly)_  
>  Unfortunately, there are no magic  
>  wands nowadays.

Nick looks up at her ruefully, and she smiles down at him.  CAMERA CLOSES IN ON HIM.  He looks forward, and his eyes drop.

> NICK  
>  _(sadly)_  
>  There never were.

CUT TO:

285\. INT. POLICE STATION—CLOSE ANGLE TOWARDS FRONT—NIGHT

Tracy comes through the gate and heads up the room.  SHE PASSES THE CAMERA, WHICH TURNS TO HOLD ON HER & FOLLOWS HER AS SHE GOES UP THE ROOM.  In b.g., Reese is leaning over from the corridor, talking to Nick, who is sitting at his desk.

> REESE (in b.g.)  
>  _(as if finishing)_  
>  So Ianetti got the case.

> NICK (in b.g.)  
>  Well, better him than me.  Most of those people don't  
>  work nights.  Liasing with them'll mean  
>  double-shifts, and you know I—  
>  _(breaks off)_

Nick and Reese look at Tracy as she comes up.

> TRACY  
>  Something up?

> REESE  
>  You hear about our hijacking?

> TRACY  
>  Yeah, on the six o'clock news.  
>  _(without real concern)_  
>  You know if the driver's going to be okay?

Nick and Reese exchange wry glances.  Then Reese turns back to Tracy, grimaces doubtfully, and shrugs.

> REESE  
>  Ianetti's over at the hospital.

CUT TO:

286\. INT. HOSPITAL ROOM—FULL SHOT

In f.g. are Ianetti and a young woman DOCTOR in a white coat.  In b.g., Orton lies unconscious in a hospital bed hitched up to various monitors.  His head is bandaged.

> IANETTI  
>  You're sure you can't say when he'll wake up?

> DOCTOR  
>  I'm sorry, Detective, but there's no guarantee  
>  when he'll regain consciousness.  
>  _(hesitates)_  
>  Or  if.  Cranial trauma can be tricky.

CUT TO:

287\. INT. SQUAD ROOM—CLOSE ANGLE

Nick is sitting at his desk, with his chair swivelled round to face Reese, who is now sitting on the corner of the desk behind him.  Tracy is standing leaning on the column by her desk.  CAMERA CLOSES IN ON NICK & REESE.

> REESE  
>  _(offhand)_  
>  Ah—I oughta get going.

> NICK  
>  Off home, Joe?

CAMERA CONTINUES TO CLOSE IN ON REESE.

> REESE  
>  Yup.  
>  _(gets up)_  
>  Got my wife's  parents over.  Denise is fixing  
>  something special.  
>  _(wry snort)_  
>  She  says it's a late dinner—but you know it's  
>  as much as my life's worth to be any later'n  
>  this tonight!

CUT TO:

288\. INSERT—CLOSE-UP OF NICK

He grins.

CUT TO:

289\. RETURN TO SHOT

CAMERA PULLS BACK.  Reese nods, and then heads for the front of the room.  Tracy turns her head to watch him go.

> TRACY  
>  Night, Cap.

Reese flaps a hand at her, and goes o.s.  Tracy turns back round, pulling out her chair and sitting down.

CUT TO:

290\. INT. LIQUOR STORE—MED. ANGLE INTO THE STORE—NIGHT

REESE COMES ON SCREEN IN F.G.  He walks down an aisle, past other shoppers, heading for the red wine section.

CUT TO:

291\. CLOSE ANGLE BY SHELVES

Reese looks along the rows of bottles of red wine.

CUT TO:

292\. EXTREME CLOSE-UP OF REESE

Deciding.

CUT TO:

293\. INSERT—CAMERA PANS SLOWLY ALONG ONE SHELF OF BOTTLES

CUT TO:

294\. RETURN TO EXTREME CLOSE-UP OF REESE

CUT TO:

295\. RETURN TO CLOSE-UP OF ROW OF BOTTLES

Reese's hand takes a bottle off the shelf.

CUT TO:

296\. CLOSE ANGLE AT CASH REGISTER—FROM BEHIND REESE'S RIGHT

CAMERA CLOSES IN as the CUSTOMER ahead of Reese picks up a bag and moves off.  Reese moves up, putting his bottle down on the counter.  CAMERA CLOSES IN FOR TWO-SHOT as SIMON MIEKA rings it up.  Mieka is short, stocky, and fair-haired.  His expression and stance make him insignificant looking.  His job as night manager is actually cover for his real role:  he's in charge of retail distribution of bottled blood in the Toronto area.

CUT TO:

297\. INSERT—EXTREME CLOSE-UP OF REESE

Eyes down to his wallet (o.s.).

CUT TO:

298\. INSERT—EXTREME CLOSE-UP OF REESE'S HANDS & WALLET

He opens the wallet (to take out money or a credit card).

CUT TO:

299\. RETURN TO SHOT

Reese looks up, his fingers in his open wallet.

> MIEKA  
>  That'll be ten-ninety.

CUT TO:

300\. EXT. POLICE STATION—NIGHT (STOCK)

CUT TO:

301\. ANGLE TOWARDS FRONT OF ROOM, FROM THE CENTRAL CORRIDOR

In b.g., Campbell is talking to the desk sergeant.  In f.g. on r.s., Nick is looking at Tracy, who is hanging on the phone.  Faint RINGING can be heard on the other end of the line.  CAMERA TURNS ROUND TO THE DESKS, CLOSING IN FOR CLOSE-UP OF TRACY.  She puts down the phone, and looks across to Nick.  CAMERA SHIFTS TO NICK.

> NICK  
>  _(half-question)_  
>  Still no answer.

CUT TO:

302\. CLOSE-UP OF TRACY

Tracy grimaces wryly.

> TRACY  
>  Sorenson.  He just doesn't want to  
>  pick up.

CUT TO:

303\. QUICK INSERT—TWO-SHOT AT FRONT DESK

The desk sergeant lets Campbell past the gate and starts escorting him up the room.

CUT TO:

304\. RETURN TO CLOSE-UP OF TRACY

> NICK (O.S.)  
>  Look, it seems to me that we should—  
>  _(breaks off)_

CUT TO:

305\. QUICK INSERT—EXTREME CLOSE-UP OF NICK

His eyes shift beyond Tracy.

CUT TO:

306\. RETURN TO CLOSE-UP OF TRACY

> TRACY  
>  What is it?

Frowning slightly, she twists round in her chair to look behind her.  CAMERA ANGLE & FOCUS SHIFT TOWARDS THE FRONT OF THE STATION.  The desk sergeant and Mike Campbell are approaching.

> DESK SERGEANT  
>  Excuse me, but this guy says he—  
>  _(interrupted)_

CUT TO:

307\. CLOSE ANGLE—FROM BEHIND SERGEANT & CAMPBELL (ON R.S.)

Nick pushes back his chair and starts to get up.

> NICK  
>  That's okay.  
>  _(holding out hand)_  
>  Mr. Campbell.

Campbell reaches out to take Nick's hand.  The desk sergeant turns and goes o.s. (PAST THE CAMERA).

> CAMPBELL  
>  I was wondering if you were any closer to finding Chuck's  
>  murderers.

CUT TO:

308\. INSERT—EXTREME CLOSE-UP OF TRACY

She looks up at Nick sardonically.

CUT TO:

309\. RETURN TO SHOT

> NICK  
>  _(hesitates)_  
>  Look, why don't you pull up a chair—  
>  _(leans out & points)_  
>  —and sit down.  
>  _(pauses)_

CAMERA PULLS BACK & SWINGS ROUND, HOLDING ON CAMPBELL as he grabs Ianetti's chair, and then pushes it back to their desks.  CAMERA SHIFTS ROUND TO BRING NICK IN SHOT.  Campbell sits down.  Nick follows suit.

> NICK  
>  At the moment, we're still working on the routine.  There's  
>  a lot of that in police work.

CAMERA SHIFTS OVER SLIGHTLY TO INCLUDE TRACY.  Campbell (on r.s.) turns his head to her, and nods as she ends.

> TRACY  
>  Going over files ... that sort of thing.

> CAMPBELL  
>  _(polite but strained)_  
>  But what you're trying to say is that ...  
>  right at the moment ... you really have  
>  no idea who killed Chuck.

CAMERA SHIFTS BACK TOWARDS NICK.  In b.g., Ianetti comes in the rear exit and walks down the central corridor.

> NICK  
>  Well, we have certain leads we are following  
>  up.  But, if you are asking if we have a suspect,  
>  then ... no.  Not at this time.  
>  _(continues)_

CAMERA SHIFTS OVER TO IANETTI AS HE COMES UP. He stops in the aisle behind Campbell, looking at his own desk.

CUT TO:

310\. CLOSE-UP OF IANETTI'S DESK—FROM IANETTI'S P.O.V.

> NICK (O.S.)  
>  _(continues)_  
>  I wouldn't want—  
>  _(continues)_

CUT TO:

311\. EXTREME CLOSE-UP OF IANETTI

Ianetti looks over at Nick and Mike Campbell, with a slight degree of irritation at the loss of his chair.

> NICK (O.S.)  
>  _(continues)_  
>  —to mislead you—  
>  _(continues)_

CUT TO:

312\. CLOSE-UP OF IANETTI'S CHAIR (IANETTI'S P.O.V.)

> NICK (O.S.)  
>  _(continues)_  
>  —by suggesting that we were—  
>  _(continues)_

CUT TO:

313\. CLOSE ANGLE—FROM THE DOOR TO THE INTERROGATION ROOM

Nick (r.s.) is aware that Ianetti is there (far l.s.), but deliberately finishes what he is saying to Campbell.

> NICK  
>  _(continues)_  
>  —near to making an arrest.

CAMERA SHIFTS OVER TOWARDS IANETTI as Nick looks at him.

> IANETTI  
>  The captain around?

CUT TO:

314\. INSERT—CLOSE-UP OF TRACY

She is leaning forward in her chair.

> TRACY  
>  No, he's gone home.

CUT TO:

315\. RETURN TO MAIN SHOT

Ianetti nods.  Belatedly, Campbell gets up.

> CAMPBELL  
>  Errr—I think I have your chair.

He gives it a little push in Ianetti's direction.

> IANETTI  
>  Oh ... that's all right.

> CAMPBELL  
>  No ... I'm leaving.  
>  _(to Nick)_  
>  Will you give me a call if you find out anything?

Nick gets up, and moves forward (closer to Campbell).

> NICK  
>  Sure. We'll keep you posted.

Campbell turns and heads o.s. (to the front of the room).  Ianetti recaptures his chair.  CAMERA HOLDS ON HIM AS HE PUSHES IT BACK BEHIND HIS DESK.  He sits down and reaches for the phone.

CUT TO:

316\. CLOSE ANGLE ALONG FRONT DESK—FROM JUST BEHIND THE DESK

The desk sergeant is doing something behind the desk.  CAMPBELL COMES ON SCREEN, HEADING FOR THE GATE.  As he goes by, the sergeant looks round at him.  Campbell goes through the gate and along the front corridor.  The sergeant turns back to his work.

CUT TO:

317\. CLOSE-UP OF IANETTI—ON THE PHONE

> IANETTI  
>  Yeah, I know it's late.  But I need this information  
>  about the wine shipment.  
>  _(pause)_  
>  Sure, I'll hold.

He scrabbles for a pen and paper.

CUT TO:

318\. ANGLE ACROSS TO NICK & TRACY (INTERCUT W/ IANETTI)

They are looking at Ianetti.

> NICK  
>  _(calling over)_  
>  Got a lead?

CUT TO:

319\. CLOSE-UP OF IANETTI

He looks around at them, cradling the receiver.

> IANETTI  
>  _(doubtful)_  
>  I dunno.  There's something  about this hijacking.

CUT TO:

320\. ANGLE ON NICK & TRACY

They look puzzled.

> NICK  
>  What'd'you mean?

CUT TO:

321\. CLOSE-UP OF IANETTI

Ianetti is about to answer, but suddenly raises his hand to stop any interruptions (for the person at the other end of the phone has come on the line).  He looks down, and starts scribbling on the paper.

CUT TO:

322\. ANGLE ON NICK & TRACY

They look at him, and then turn back to their own concerns.  CAMERA CLOSES IN.

> NICK  
>  So where were we?

> TRACY  
>  You were going to suggest something.

> NICK  
>  Oh, right.

He picks up a piece of paper from his desk and holds it out to Tracy.  She takes it, and looks at it.

> NICK  
>  That's where the ambulance picked up Sorenson  
>  that night.

> TRACY  
>  Oh, really?  
>  _(looks up)_  
>  There are quite a few  gay bars round there.   
>  You want us to check them out?

> NICK  
>  I think we should.  See if anyone remembers  
>  other incidents.

Tracy pushes back her chair and gets up.

CUT TO:

323\. INT. LIQUOR STORE—CLOSE ANGLE ON FRONT ENTRANCE—NIGHT

Ianetti comes in.

CUT TO:

324\. MED. ANGLE TOWARDS CASH REGISTER

In b.g., A CLERK is at the cash register, ringing in items for a customer.  IANETTI COMES ON SCREEN IN F.G.  CAMERA FOLLOWS HIM as he walks up to the cash register.

> IANETTI  
>  _(brisk)_  
>  Excuse me, I'm looking for the manager.

The clerk looks up, and the customer glances round briefly.  However, before the clerk can answer....

> MIEKA (O.S.)  
>  I'm the night manager.  Can I help you?

CUT TO:

325\. REVERSE ANGLE—AWAY FROM CASH REGISTER INTO THE STORE, WITH IANETTI IN F.G.

Ianetti turns round to see Mieka coming towards him.

> IANETTI  
>  _(taking out ID)_  
>  Detective Ianetti, Metro Police.  You are ...?

> MIEKA  
>  Simon Mieka.

CAMERA ADJUSTS TO TWO-SHOT FAVOURING IANETTI.

> IANETTI  
>  You may be able to help me with some information.   
>  There was a robbery earlier today.  A truckload of wine.  
>  _(questioning)_  
>  I've been told it was a special shipment ordered for  
>  this branch?  
>  _(pauses interrogatively)_

CUT TO:

326\. INSERT—EXTREME CLOSE-UP OF MIEKA

His face goes very still, lest he give anything away.

CUT TO:

327\. INSERT—EXTREME CLOSE-UP OF IANETTI

> IANETTI  
>  _(continues, uncertain)_  
>  That's what I was told by stock control at the main  
>  warehouse.

CUT TO:

328\. INSERT—RETURN TO EXTREME CLOSE-UP OF MIEKA

> MIEKA  
>  _(tense, still)_  
>  A ...  special shipment.

CUT TO:

329\. RETURN TO TWO-SHOT FAVOURING IANETTI

> IANETTI  
>  _(unsuspiciously)_  
>  Yeah, that's right.

CAMERA SHIFTS TO FAVOUR MIEKA.

> MIEKA  
>  _(at a loss)_  
>  I—I ...  see.  
>  _(smiles)_  
>  Perhaps we should speak in back? My office is  
>  this way.

He gestures towards the back of the store.  Ianetti nods, and moves off in that direction.  CAMERA HOLDS ON HIM, AND THEN SWINGS ROUND TO MIEKA.  His smile fades, and he looks tense.  He walks forward (TOWARDS THE CAMERA).

CUT TO:

330\. EXT. CUNNINGHAM'S HOUSE—LONG SHOT—NIGHT

This is a large house in an expensive neighbourhood.  It has a heavy stone porch, and a flagstone walk leading up to it.

CUT TO:

331\. FLIGHT EFFECT—BLURRED SHOT OF THE SKY, DOWN TO THE LEFT

CUT TO:

332\. FLIGHT EFFECT—BLURRED SHOT OF BRICKS, ACROSS & SLIGHTLY DOWN

CUT TO:

333\. EXT. CUNNINGHAM'S PORCH—CLOSE SHOT (MIEKA'S P.O.V.)

CAMERA CLOSES IN ON THE FRONT DOOR as Mieka (o.s.) walks up to the door.  HIS RIGHT ARM COMES ON SCREEN as he reaches out to ring the bell.

CUT TO:

334\. INT. CUNNINGHAM'S LIVING ROOM—MED. ANGLE

The room is spacious and expensively furnished, with paintings on the walls, a liquor cabinet, couches and coffee tables, and a fireplace opposite double glass doors (o.s.) which lead out to a carpeted hall.

Near the fireplace is GEORGE CUNNINGHAM, a vampire who owns a winery (cover for a blood-bottling operation).  He looks the prosperous businessman—well-kept and smooth, in an expensive suit.  He is squarish and heavy, fair-skinned and very clean-shaven, with short light brown hair.  He is sitting in a heavy armchair, reading the paper and drinking blood from a cut-glass wine glass.

THE DOORBELL RINGS.  Cunningham puts down the glass and paper and gets up.  CAMERA HOLDS ON HIM as he walks across the room, opens one of the doors and goes out.

CUT TO:

335\. HALL—CLOSE ANGLE ON DOORS TO LIVING ROOM

By the doors to the living room, there is a hall table with a telephone on it and mirror above it.  To someone coming in the front door, there is an inner glass door making a small lobby area leading into the hall proper, with the living room on the left.

Cunningham comes out of the living room.  CAMERA HOLDS ON HIM as he heads for the front door.

CUT TO:

336\. CLOSE-UP OF CUNNINGHAM AT FRONT DOOR

Cunningham opens the door.  Mieka is outside.  CAMERA CLOSES IN ON MIEKA.

> MIEKA  
>  _(suppressed tension)_  
>  I've just had the  police at my store.  We've  
>  got to talk.

FADE OUT.

**END ACT THREE**

* * *

  
  
**ACT FOUR**

FADE IN:

337\. INT. GAY CLUB—EXTREME CLOSE-UP OF NICK'S BADGE

CUT TO:

338\. CLOSE-UP OF NICK, PUTTING HIS ID AWAY

> NICK  
>  I just have a few questions.

CUT TO:

339\. INT. CUNNINGHAM'S HALLWAY—ANGLE THROUGH OPEN DOOR INTO THE LIVING ROOM

Across the room, Mieka is standing a few feet from Cunningham, his stance suggesting deference to a superior.  He is very agitated.  CAMERA CLOSES IN as they talk.

> MIEKA  
>  You see we've got a problem here.  A big  
>  problem.  
>  _(continues)_

CUT TO:

340\. QUICK INSERT—INT. GAY CLUB—CLOSE ANGLE ON TRACY, FLASHING HER ID AT A GROUP OF MEN—NIGHT

CUT TO:

341\. RETURN TO CLOSE ANGLE TOWARDS CUNNINGHAM & MIEKA

CAMERA CONTINUES TO CLOSE IN.

> MIEKA  
>  _(continues)_  
>  Not the  cop—I took care of him  
>  easily enough.  But ...  
>  _(worried pause)_  
>  ... you  do see the implications?

> CUNNINGHAM  
>  _(annoyed)_  
>  Of  course I do!

CUT TO:

342\. QUICK INSERT—INT. GAY CLUB—TWO-SHOT OF NICK & BARTENDER

The BARTENDER has his hands out, on the top of the bar.  Nick is flashing his ID.

CUT TO:

343\. RETURN TO TWO-SHOT OF CUNNINGHAM & MIEKA

> CUNNINGHAM  
>  _(self-assured)_  
>  I'll see what I can find out at the hospital.  We can take  
>  it from  there.

CUT TO:

344\. FLIGHT EFFECT—BLURRED WINDOWS ANGLED UP TO THE LEFT

CUT TO:

345\. EXT. HOSPITAL—NIGHT (?STOCK)

CUT TO:

346\. INT. HOSPITAL ROOM—CLOSE-UP OF ORTON

Orton is lying unconscious in bed. FLIGHT SOUND EFFECT. CAMERA PULLS BACK UNTIL CUNNINGHAM COMES ON SCREEN.  He is at the side of the bed, looking down on Orton.

> DOCTOR (O.S.)  
>  Excuse me.  Are you a relative?

CUT TO:

347\. MED. ANGLE

The doctor is just inside the door to the room.  At the bedside, Cunningham turns round, and walks over to her.

> CUNNINGHAM  
>  Mr. Orton is an employee of mine.

> DOCTOR  
>  Oh, I see.

> CUNNINGHAM  
>  I wonder if you could tell me about his condition.

He stops in front of her.

> DOCTOR  
>  _(uncertain)_  
>  Well ... really I should only give out information to  
>  family.  
>  _(continues)_

CUT TO:

348\. CLOSE-UP OF DOCTOR

> DOCTOR  
>  _(continues)_  
>  _(smiles apologetically)_  
>  You understand.

CUT TO:

349\. CLOSE-UP OF CUNNINGHAM

> CUNNINGHAM  
>  _(softly, hypnotic effect)_  
>  Yes, of course I do.

CUT TO:

350\. EXTREME CLOSE-UP OF CUNNINGHAM'S EYES

HEARTBEAT GETS LOUDER.  Cunningham's eyes are green.

CUT TO:

351\. EXTREME CLOSE-UP OF DOCTOR'S FACE

> DOCTOR  
>  _(vaguely)_  
>  What?

CUT TO:

352\. RETURN TO EXTREME CLOSE-UP OF CUNNINGHAM'S EYES

CUT TO:

353\. RETURN TO EXTREME CLOSE-UP OF DOCTOR'S FACE

CUT TO:

354\. RETURN TO EXTREME CLOSE-UP OF CUNNINGHAM'S FACE

> CUNNINGHAM  
>  You can make an exception for me, Doctor.  
>  _(continues)_

CUT TO:

355\. EXTREME CLOSE-UP OF DOCTOR'S FACE

CUT TO:

356\. EXTREME CLOSE-UP OF CUNNINGHAM'S FACE

> CUNNINGHAM  
>  _(continues softly)_  
>  I want to hear  everything you know ...  
>  about the attack on my driver.

CUT TO:

357\. EXTREME CLOSE-UP OF DOCTOR'S FACE

CUT TO:

358\. EXTREME CLOSE-UP OF CUNNINGHAM'S FACE

CUT TO:

359\. NIGHT CITYSCAPE (STOCK)

CUT TO:

360\. EXT. POLICE PARKING LOT—MED. ANGLE—NIGHT

Nick is locking the car door.  Tracy is walking down to the rear of the car.  He heads down to join her.

> NICK  
>  This case has really got to you, hasn't it?

> TRACY  
>  I guess.

CUT TO:

  
361\. QUICK INSERT—INT. MIKE CAMPBELL'S APARTMENT—CLOSE-UP OF CAMPBELL'S HAND TOUCHING A FRAMED PHOTOGRAPH OF RYAN & CAMPBELL, WHICH IS ON A TABLE

CUT TO:

362\. QUICK INSERT—CLOSE-UP OF CAMPBELL

Looking down at the photograph unhappily.

CUT TO:

363\. EXT. REAR OF POLICE STATION—TWO-SHOT AT DOOR—NIGHT

Tracy pulls the door open, and then pauses.  She turns to Nick, who is right behind her.

> TRACY  
>  It's victims' families.  They're  
>  victims too, y'know ... and they're still  
>  suffering.

CUT TO:

364\. INT. REAR OF SQUAD ROOM—CLOSE ANGLE ON REAR EXIT

The door is open.  Tracy rounds the corridor, with Nick a step behind.  CAMERA PULLS BACK, HOLDING ON THEM AS THEY WALK UP THE ROOM.

> TRACY  
>  You know what I'm going to do?  I'm going to get  
>  out early tomorrow and go round where  
>  Sorenson works and catch him there.

> NICK  
>  Trace ... I'm not so sure that's a good idea.

Tracy turns her head to talk to Nick as she walks.

> TRACY  
>  _(bright, brisk)_  
>  Don't worry, Nick—I'll be discreet.  If he doesn't have a  
>  private  office, I'll take him out for a cup of  
>  coffee.

> NICK  
>  _(dissatisfied, but nods)_  
>  Yeah, okay.  Makes sense.

CUT TO:

365\. EXT. CUNNINGHAM'S HOUSE—CLOSE ANGLE ON PORCH—NIGHT

YSABEL ROCCA is on the porch as Cunningham opens the door.  She looks in her thirties—tall, thin, heavy-boned, and large-breasted, with coarse features, black hair, and swarthy skin.  She wears a black dress of smart but conservative cut.  She has a look of authority and competence.  She has a senior position in the Canadian Blood Services Agency, diverting blood to vampire use.

> CUNNINGHAM  
>  Come on in.

CUT TO:

366\. INT. CUNNINGHAM'S HOUSE—TWO-SHOT TOWARDS FRONT DOOR

> ROCCA  
>  I heard about the hijacking on the news.  
>  _(comes in)_  
>  Didn't realize it was  our delivery till you  
>  called.

She passes Cunningham, and he shuts the door.

> CUNNINGHAM  
>  Mieka's already here.

She heads into the hall & o.s., followed by Cunningham.

CUT TO:

367\. INT. LIVING ROOM—CLOSE ANGLE ON SIMON MIEKA

Simon Mieka is fidgeting by the fireplace.  CAMERA SWINGS ROUND TO MED. ANGLE ACROSS TO THE DOUBLE DOORS.  Cunningham and Rocca come into the room.

> CUNNINGHAM  
>  You'll have something to drink, Ysabel?

> ROCCA  
>  Thank you.

Cunningham crosses to the liquor cabinet.  Rocca walks in (TOWARDS THE CAMERA), stopping in left f.g.

CUT TO:

368\. INSERT—CLOSE-UP OF CUNNINGHAM

He opens the cabinet and takes out a bottle of blood.

CUT TO:

369\. RETURN TO MED. ANGLE—ROCCA IN F.G., CUNNINGHAM IN B.G. ON L.S. & MIEKA IN B.G. ON R.S.

Cunningham is pouring blood into a cut-glass wine glass.

> ROCCA  
>  Oh, sit down, Simon.

Fidgety, Mieka shakes his head.  Cunningham brings the glass over to Rocca.  He then looks at Mieka.

> CUNNINGHAM  
>  You're sure you won't have some?

> MIEKA  
>  _(edgy)_  
>  No ... let's get on with it.  
>  _(urgently)_  
>  How fast can you get me another shipment?!

> ROCCA  
>  _(exasperated)_  
>  Oh, _Simon_ ... don't be a fool.

> CUNNINGHAM  
>  _(to Mieka)_  
>  _(stating obvious)_  
>  I can't bottle  blood unless I have blood  
>  to bottle.  
>  _(to Rocca)_  
>  Ysabel ... can you get me a supply from  
>  out of the province?  There's a good-  
>  sized community in Montreal.

> ROCCA  
>  _(immediately)_  
>  Who use what they have themselves.   You  
>  know that, George.  
>  _(doubtful pause)_  
>  Perhaps they can squeeze a  few more  
>  units out of the system.  But I doubt if it  
>  will be enough.

> CUNNINGHAM  
>  Pity.

> MIEKA  
>  _(astounded)_  
>  Is  that all you can say?  
>  _(continues)_

They look at him, with a somewhat repressive calm that contrasts with his urgency.

CUT TO:

370\. INSERT—CLOSE-UP OF MIEKA

> MIEKA  
>  _(continues)_  
>  Damn it, Cunningham, think! I'm going to  
>  have every vampire in the whole Toronto region  
>  coming into my store.  
>  _(continues)_

CUT TO:

371\. RETURN TO MAIN SHOT

The others remain impassive.

> MIEKA (O.S.)  
>  _(continues)_  
>  What am I going to  tell them?  
>  _(continues)_

CUT TO:

372\. INSERT—RETURN TO CLOSE-UP OF MIEKA

> MIEKA  
>  _(continues, incredulous)_  
>  This month's supply of bottled blood has been  
>  hijacked?!

CUT TO:

373\. EXT. THE RAVEN—NIGHT (STOCK)

LOUD MUSIC.  The club is open, and people are going in.

CUT TO:

374\. INT. THE RAVEN—HIGH ANGLE—FULL SHOT TOWARDS THE STAGE

LOUD MUSIC.  On stage, URS is dancing and a band is playing.  The dance floor is crowded.

CUT TO:

375\. MED. ANGLE ON URS ON STAGE

CUT TO:

376\. CLOSE ANGLE TOWARDS BAR

VACHON is leaning against the bar, a drink by his elbow.  He rubs his chin thoughtfully, looking at the stage.  LaCROIX COMES ALONG BEHIND THE BAR & SOO-LING COMES ON SCREEN IN F.G.  CAMERA HOLDS ON HER, CLOSING IN as she heads for the bar.  SOO-LING is a small, slim, beautiful Oriental vampire, dressed in a short, tight, strapless sheath dress, and shoes with stiletto heels.  Her hair is worn up, tight to her head.  She heads straight for LaCroix.  Vachon starts as he realizes she is almost colliding with him, and shifts aside slightly.

CUT TO:

377\. CLOSE-UP OF SOO-LING—ACROSS THE BAR

> SOO-LING  
>  _(slightly imperious)_  
>  LaCroix, a drink.

CAMERA SHIFTS TO LaCROIX.  CAMERA HOLDS ON HIM AS HE BENDS DOWN & CLOSES IN ON SEVERAL BOTTLES OF BLOOD ON THE SHELF UNDER THE BAR.  There is also a telephone there.  LaCroix picks a bottle up.  CAMERA HOLDS ON THE REMAINING BOTTLES AS HE STRAIGHTENS UP.

CUT TO:

378\. RETURN TO MAIN SHOT

LaCroix pours a drink from the bottle.

CUT TO:

379\. INSERT—CLOSE-UP OF GLASS ON THE BAR—FROM THE FRONT OF THE BAR (BETWEEN VACHON & SOO-LING)—ANGLE DOWN

LaCroix's hand pushes it; Soo-Ling's hand takes it.

CUT TO:

380\. RETURN TO CLOSE-UP OF SOO-LING

She raises the glass to her lips, drinking as she turns away from the bar.  CAMERA HOLDS ON HER AS SHE WALKS INTO THE ROOM.  CAMERA ADJUSTS TO TWO-SHOT as she goes up to a LEATHER-CLAD MAN, and looks up at him seductively.  The man smiles down at her, with clear sexual interest.

CUT TO:

381\. RETURN TO MAIN SHOT

CAMERA CLOSES IN FOR TWO-SHOT OF LaCROIX & VACHON.  They are looking at Soo-Ling.  Then Vachon turns to pick up his drink.  He gestures towards the dance floor with the hand holding the glass.

> VACHON  
>  Every city needs a club like this one.  
>  _(continues)_

CUT TO:

382\. ANGLE TOWARDS DANCE FLOOR

Soo-Ling, looking up at the leather-clad man, reaches behind to put her glass on the ledge of a column.

> VACHON (O.S.)  
>  _(continues)_  
>  A place where you can get a decent drink.

CUT TO:

383\. QUICK INSERT—CLOSE-UP OF GLASS BEING LEFT ON THE LEDGE

CUT TO:

384\. QUICK INSERT—RETURN TO TWO-SHOT OF LaCROIX & VACHON

CUT TO:

385\. RETURN TO DANCE FLOOR

Soo-Ling and the man move off, dancing.

> LaCROIX (O.S.)  
>  _(as if continuing, wickedly)_  
>  — whether or not it comes in a glass.

CUT TO:

386\. RETURN TO TWO-SHOT OF LaCROIX & VACHON

They are looking at one another.  LaCroix licks his lips slyly.  Vachon grins, and raises his glass high as if in toast.  CAMERA CLOSES IN ON THE GLASS.

DISSOLVE TO:

387\. SUN IN THE SKY (STOCK)

DISSOLVE TO:

388\. EXT. DOWNTOWN STREET—MED. ANGLE ALONG SIDEWALK—DAY

Tracy is stalking along furiously towards her car (o.s).

CUT TO:

389\. INSERT—EXTREME CLOSE-UP OF TRACY AS SHE WALKS ALONG

CUT TO:

390\. RETURN TO SHOT

CAMERA PULLS BACK.  TRACY'S CAR COMES ON SCREEN IN F.G., parked at the curb (r.s.).  She walks quickly up to the car from behind.  CAMERA ADJUSTS as she goes round to the driver's door, opens it, and gets in.

CUT TO:

391\. INSIDE CAR—CLOSE-UP OF TRACY FROM PASSENGER'S SEAT

She closes the door, and reaches for her car phone.  She is still angry.  CAMERA CLOSES IN.

CUT TO:

392\. INT. NICK'S APARTMENT—ANGLE OVER THE COUCH TO THE FRIDGE

Nick is at the fridge about to open the door when the phone RINGS.  Quickly, he goes over and picks up the receiver.  Before he can speak, Tracy starts.

CUT TO:

393\. RETURN TO EXTREME CLOSE-UP OF TRACY

> TRACY  
>  Nick, you won't believe what Sorenson's  
>  done!  He's left town!

CUT TO:

394\. RETURN TO CLOSE-UP OF NICK

> NICK (into phone)  
>  What?!

CUT TO:

395\. RETURN TO EXTREME CLOSE-UP OF TRACY

> TRACY  
>  He's gone on a—  
>  _(vituperative)_  
>  — business trip ... if you can believe it.   
>  Unscheduled!  He decided yesterday ... after  
>  we called his home.

CUT TO:

396\. INT. REESE'S OFFICE—CLOSE-UP OF REESE ON THE PHONE—DAY

Daytime lighting.

> REESE  
>  _(slight warning tone)_  
>  Detective Vetter ... you sound like  
>  you want me to get on the phone to Calgary and  
>  have the guy extradited on the next plane home.  
>  _(dry)_  
>  D'y'mind telling me what  charge you want  
>  them to pick him up on?

CUT TO:

397\. EXTREME CLOSE-UP OF TRACY

> TRACY  
>  _(tentative)_  
>  Obstructing justice?

CUT TO:

398\. CLOSE-UP OF REESE

> REESE  
>  _(exasperated sigh)_  
>  Sometime, Vetter, you need to learn the  
>  facts of life!  
>  _(continues)_

CUT TO:

399\. EXTREME CLOSE-UP OF TRACY

Lips pressed stubbornly tight.

> REESE (on phone)  
>  _(continues)_  
>  Sorenson's a victim.  
>  _(continues)_

CUT TO:

400\. CLOSE-UP OF REESE

> REESE (into phone)  
>  _(continues, dry)_  
>  The press'd have a field day.

CUT TO:

401\. RETURN TO EXTREME CLOSE-UP OF TRACY

Tracy looks wryly at the phone.

CUT TO:

402\. EXT. TRACY'S BUILDING—CAR DRIVES BY—NIGHT (STOCK)

CUT TO:

403\. INT. TRACY'S APARTMENT—CLOSE ANGLE ON TRACY

She is sitting on the couch, wearing a loose sweat-suit.  She leans forward to put half a glass of pop on the coffee table (which already has a nearly-empty bottle of blood and a water glass with dregs of blood).  She leans back into the corner, swinging her right foot up on the cushions and wrapping her arms around her leg.

> VACHON (O.S.)  
>  _(idly curious)_  
>  So ... whyncha tell me about the  case you're  
>  on now?

CUT TO:

404\. MED. ANGLE INTO CORNER BY FIREPLACE (TRACY'S P.O.V.)

Vachon rubs his nose, and looks at Tracy (o.s.) interrogatively, waiting for an answer.

CUT TO:

405\. INSERT—EXTREME CLOSE-UP OF TRACY

> TRACY  
>  _(wry smile)_  
>  I'd just get mad again.

CUT TO:

406\. RETURN TO MED. ANGLE

Vachon cocks an eye at her, puzzled.  Then he shrugs.

> VACHON  
>  _(easily)_  
>  Okay.

He walks over to the coffee table.

> TRACY (O.S.)  
>  It's a good thing my partner hasn't got  
>  so involved with the case.  
>  _(continues)_

CAMERA SHIFTS DOWN & CLOSES IN (FOR CLOSE-UP) AS VACHON SQUATS DOWN BESIDE THE COFFEE TABLE.

> TRACY (O.S.)  
>  _(continues)_  
>  One of us needs to keep a sense of  
>  proportion.

Vachon's eyes are on her as he reaches out to pick up the bottle.

CUT TO:

407\. RETURN TO CLOSE ANGLE ON TRACY

She shifts on the couch, bringing up her other leg and turning to sit with her legs crossed, arms on her knees.  CAMERA CLOSES IN.

CUT TO:

408\. RETURN TO CLOSE-UP OF VACHON

Vachon's eyes are on her.  He pauses, his hand on the bottle.

CUT TO:

409\. RETURN TO CLOSE-UP OF TRACY

> TRACY  
>  _(smiles, shakes head)_  
>  You know, Javier—times I  still find it  
>  hard to believe someone like you exists!  
>  _(delighted giggle)_  
>  A  real vampire!  Who'd'a thunk it?

CUT TO:

410\. INSERT—EXTREME CLOSE-UP OF VACHON (TRACY'S P.O.V.)

Vachon has picked up the bottle, but he raises his eyes for a moment to look at Tracy, amused.  Then he looks back at the bottle, and starts to pour the blood into his glass.  As there is only a little blood left in the bottle, the glass only fills about a third full.

CUT TO:

411\. INSERT—EXTREME CLOSE-UP OF THE TOP OF THE BOTTLE AS THE LAST DROPS TRICKLE OUT

CUT TO:

412\. INSERT—EXTREME CLOSE-UP OF THE GLASS

The last drop plops into the liquid.

> TRACY (O.S.)  
>  You're out.

FADE OUT.

**END ACT FOUR**

 

* * *

  
  
**ACT FIVE**

FADE IN:

413\. EXT. THE RAVEN—MED. ANGLE ON DOOR—NIGHT (?STOCK)

It is dusk—long before the club opens. A couple of passers-by walk along the sidewalk past the club.

CUT TO:

414\. INT. THE RAVEN—HIGH ANGLE SHOT

It is before opening time. LaCroix comes into the club carrying a box of a dozen bottles of blood. He carries it across to the bar.

CUT TO:

415\. ANGLE ALONG BAR FROM END

LaCROIX COMES ON SCREEN IN F.G. AND WALKS ALONG BEHIND THE BAR WITH THE BOX. He stops and puts it down.

CUT TO:

416\. CLOSE-UP OF BOX

LaCroix opens it and pulls out a bottle.

CUT TO:

417\. EXTREME CLOSE-UP OF BOTTLE—FOCUS ON LABEL

CUT TO:

418\. CLOSE-UP OF LaCROIX—FROM BEHIND THE BAR

He looks at the bottle consideringly.  Then he puts it down and takes out another bottle.  CAMERA SHIFTS DOWN as he takes them and bends down to put them on the shelf under the bar.  The phone there RINGS; and LaCroix takes it out.  CAMERA SHIFTS BACK UP AS LaCROIX STRAIGHTENS.  He puts the phone on top of the bar, and picks up the receiver.

> LaCROIX  
>  This is The Raven.  The club opens at ....  
>  _(breaks off)_

> LaCROIX (into phone)  
>  _(after brief pause)_  
>  Oh, yes, Cunningham.  
>  _(listens quite a while)_  
>  What!!  
>  _(pause)_  
>  I  see. Yes, I'll be right over.

CUT TO:

419\. CLOSE-UP OF LaCROIX—ANGLE TOWARDS THE BAR

LaCroix puts the phone down.  He looks at the box consideringly, removes half the bottles, pauses doubtfully, and then puts two back.

CUT TO:

420\. EXT. CUNNINGHAM'S HOUSE—FROM THE SIDEWALK—NIGHT

CUT TO:

421\. INT. CUNNINGHAM'S LIVING ROOM—MED. ANGLE

LaCroix stands by the fireplace, looking casually arrogant, secure in his power relative to the others.  Cunningham sits in a leather armchair in a dominant position.  Rocca is on a couch, Mieka standing near her.  CAMERA GRADUALLY CLOSES IN TO CLOSE ANGLE.

> LaCROIX  
>  _(with distaste)_  
>  The whole business seems  grossly mismanaged  
>  to me.

> ROCCA  
>  _(resentful)_  
>  If you had complaints, you should have made them  
>  before, LaCroix.

> CUNNINGHAM  
>  _(smoothly)_  
>  He's just upset by the situation, Ysabel.  As are we  
>  all.  The question  is—what are we going to  
>  do now?  
>  _(looks at Rocca)_

> ROCCA  
>  _(bluntly)_  
>  You know my position: I can't afford to precipitate  
>  a shortage.

> CUNNINGHAM  
>  _(concerned, thoughtful)_  
>  Right.

CUT TO:

422\. INSERT—CLOSE-UP OF MIEKA

> MIEKA  
>  _(hesitant)_  
>  Well...I've been on to distributors in the States.  
>  A couple of the  private blood banks...run by  
>  members of the community...think they can supply  
>  us. But it takes time to get things through channels. I'll  
>  expedite the import orders if I can....  
>  _(trails off doubtfully)_

CUT TO:

423\. RETURN TO SHOT

> LaCROIX  
>  _(stating obvious)_  
>  Smuggle the stuff over the border!

> MIEKA  
>  _(sharp, eager)_  
>  You know an outfit that can do that?

> LaCROIX  
>  Not offhand ... with Constantine  
>  moved out of Toronto. But I'm sure ....  
>  _(interrupted)_

> ROCCA  
>  _(interrupting)_  
>  Then  that's not much help, is it?

CUT TO:

424\. INSERT—CLOSE-UP OF CUNNINGHAM

> CUNNINGHAM  
>  The trouble is ... we've run this as a legitimate  
>  business for fifty years.  
>  _(slight wry tone)_  
>  No doubt we  all once had contacts in the  
>  criminal underground—but they're now long  
>  out of date.

CUT TO:

425\. RETURN TO SHOT

> LaCROIX  
>  It can't be that difficult! Drive a truck up to  
>  a crossing point—hypnotize the customs officials—  
>  _(interrupted)_

CUT TO:

426\. INSERT—CLOSE-UP OF MIEKA

> MIEKA  
>  _(boldly sarcastic)_  
>  —discover that one of them is a  Resistor.

CUT TO:

427\. RETURN TO SHOT

Mieka subsides as the others look at him.

> CUNNINGHAM  
>  _(reasonable)_  
>  You  know we can't afford any ... mysterious  
>  memory lapses.  Don't forget surveillance cameras.

> ROCCA  
>  I don't want the Enforcers at my door.

> LaCROIX  
>  _(suave)_  
>  All of which makes me  wonder ... just why I  
>  am here?  
>  _(continues)_

CUT TO:

428\. INSERT—CLOSE-UP OF LaCROIX

> LaCROIX  
>  _(continues)_  
>  Other than your courtesy in  informing me  
>  of the situation, of course.

He bows his head slightly to them in mock deference.

CUT TO:

429\. RETURN TO SHOT

> CUNNINGHAM  
>  _(simultaneous)_  
>  Your club.

> ROCCA  
>  _(simultaneous)_  
>  The Raven.

They glance at each other, and then turn back to LaCroix.

> CUNNINGHAM  
>  Most transients get their supplies from you  
>  ... not from Mieka.  So how are you situated?

CUT TO:

430\. INSERT—CLOSE-UP OF LaCROIX

> LaCROIX  
>  _(harshly)_  
>  You brought me here just to ask me that?!  
>  _(continues)_

CUT TO:

431\. RETURN TO SHOT

> LaCROIX  
>  _(continues)_  
>  Simon knows.

He gestures contemptuously, and the others look over at Mieka, who shrinks a little at the attention.

> MIEKA  
>  _(subdued)_  
>  I wasn't sure what backstock you might have.

> LaCROIX  
>  _(crisp, sarcastic)_  
>  I  was expecting a shipment tomorrow.

There is a little silence.

> LaCROIX  
>  _(sarcastic, to the room)_  
>  How much ...  'backstock' ... has Simon  
>  in his little wineshop?

> MIEKA  
>  _(uneasy, nervous)_  
>  Not much.  
>  _(continues)_

CUT TO:

432\. INSERT—CLOSE-UP OF MIEKA

> MIEKA  
>  _(continues, sharply defensive)_  
>  And hunting's too much of a  bother nowadays.   
>  What I have, I'm keeping for myself.  
>  _(quick rethink)_  
>  And any of  you, of course.

His eyes dart from one to the other, and he bobs his head slightly, with automatic deference.

CUT TO:

433\. RETURN TO SHOT

Then Mieka looks at LaCroix, with a sudden afterthought.

> MIEKA  
>  _(nervous)_  
>  But I can't stock The Raven, LaCroix. I mean ... you  
>  personally, but ...

> LaCROIX  
>  _(dry)_  
>  Don't bother doing me the favour.  Like  
>  you ... I've enough on hand for my own needs.

Cunningham and Rocca nod understandingly: LaCroix intends to stop selling blood in The Raven, and—like Mieka—keep what he has on hand for himself.

> LaCROIX  
>  _(imperiously)_  
>  Now.  Was there anything else?

CUT TO:

  
434\. EXT. POLICE STATION—NIGHT (STOCK)

CUT TO:

435\. INT. REESE'S OFFICE—CLOSE-UP OF REESE

He is sitting on the corner of his desk, trying for a casual note.  O.S. Nick and Tracy stand in front of him.

> REESE  
>  I had the day shift check out Sorenson.  
>  _(continues)_

CUT TO:

436\. CLOSE ANGLE FROM FILING-CABINET END OF THE ROOM—REESE ON R.S., NICK & TRACY ON L.S.

> REESE  
>  _(continues)_  
>  He's staying at the  hotel all right.  
>  _(continues)_

CUT TO:

437\. INSERT—CLOSE-UP OF TRACY

She shrugs, still dissatisfied but not about to complain.

> REESE (O.S.)  
>  _(continues)_  
>  I reckon he's just—  
>  _(continues)_

CUT TO:

438\. RETURN TO CLOSE ANGLE

> REESE  
>  _(continues)_  
>  —hoping you'll find the murderer  fast ...  
>  _(dry)_  
>  ... and get him off the hook.

Nick and Tracy share unhappy glances.

> NICK  
>  Actually ... we're not really getting anywhere,  
>  Captain.

> TRACY  
>  _(quickly)_  
>  We've got plenty of  forensic evidence. We  
>  just have no suspects.

CUT TO:

439\. INSERT—RETURN TO CLOSE-UP OF REESE

He grimaces wryly.

> REESE  
>  Let's face it—this isn't exactly organized crime  
>  we're talking about.  It's some parents' blue-eyed boys  
>  with too much to drink and nothing to do—  
>  _(short pause, emphatic)_  
>  —except have what  they reckon is a good time  
>  beating up fags.  
>  _(pause, bitter)_  
>  And if we ever  do catch 'em, not one  
>  of their parents'll believe a word of it.

CUT TO:

440\. RETURN TO CLOSE ANGLE

> NICK  
>  _(concerned)_  
>  You okay, Joe?

> REESE  
>  _(dismissive flap of hand)_  
>  Ah, sure, Nick.  The press, the Chief— you  
>  know.  It'll blow over.

  
CUT TO:

441\. INT. SQUAD ROOM—TWO-SHOT OF NICK & TRACY AT HER DESK

Nick is seated.  Tracy is standing casually by their desks.

> TRACY  
>  So the question is—where do we go from here?

> NICK  
>  Well, what about the bars we didn't get  
>  to yesterday?  There's still—  
>  _(interrupted)_

NICK'S PHONE RINGS. He reaches for it.

> NICK  
>  _(to Tracy)_  
>  Sorry.  
>  _(into phone)_  
>  Detective Knight, Homicide.  
>  _(listens)_  
>  I  can't right now.  
>  _(long pause)_  
>  All right, all right.

Nick puts the phone down, looking irritated.

> TRACY  
>  Something wrong?

> NICK  
>  _(embarrassed)_  
>  Uh— I've gotta go.  I'll be back as soon as  
>  I can.

He gets up hurriedly, and goes past her and o.s.

CUT TO:

442\. INT. LaCROIX'S STUDY—MED. ANGLE TOWARDS DESK FROM DOOR

LaCroix's study is one of the rooms in his apartment above The Raven.  The left wall has a large window, which is concealed behind long, thick, dark green brocade curtains.  In front of this is a large, leather-topped wooden desk of fine quality, on which is a lap-top computer, phone and answering machine, and a silver desk set.  A leather office chair is behind the desk, facing into the room.  The back wall is light coloured, with a dark, heavy wooden door near the middle.  The left side (on the side of the room where the desk is) is shorter.  There is a large painting hanging on it, with a tall narrow set of shelves by the door; the shelves have books, and the Roman bust is set on top.  On the right side of the door, which is the longer section of wall, there are built-in wooden shelves running the length of the room, round the corner, and along part of the right wall.  The shelves are full of books, of various ages, many old but also modern; they vary in size and condition.  The shelves end with a built-in liquor cabinet and entertainment centre.  On the floor is a dark red Persian carpet.  Standing in the middle of the room are a pair of comfortably upholstered, tall-backed wing armchairs, with a small antique table between them; behind is a modern-style brass standard lamp with double angle-arms to light each chair.

CAMERA CLOSES IN ON LaCROIX.  He is standing in front of his desk, his fingers resting on it, looking worried and impatient.  Then he hears the DOOR OPEN, and looks round sharply as Nick comes in (o.s.).

> LaCROIX  
>  Ah, good.  There you are.

CUT TO:

443\. CLOSE ANGLE—DOOR IN B.G.

Nick comes up to LaCroix.  CAMERA CLOSES IN FOR TWO-SHOT.

> NICK  
>  LaCroix, I realize my job may not seem very—  
>  _(continues)_

At this point, LaCroix tries to interrupt; but, at first, Nick is too annoyed to notice what he is saying.

> LaCROIX  
>  _(quiet, firm)_  
>  Nicholas.  
>  (pauses)  
>  I need your  help, Nicholas.

>  NICK  
>  _(continues, simultaneously )_  
>  —important to you, but it matters to  me. I  
>  can't just—  
>  _(stops abruptly)_

> NICK  
>  _(taken aback)_  
>  What?!

> LaCROIX  
>  I am, as it were, dialing Nine-One-One and calling  
>  the police.

CUT TO:

444\. INSERT—EXTREME CLOSE-UP OF NICK

Nick can't quite take this in.

> NICK  
>  You're joking. You need my help?!  Usually  
>  I'm coming to you.

CUT TO:

445\. INSERT—EXTREME CLOSE-UP OF LaCROIX

> LaCROIX  
>  _(too patiently)_  
>  Yes, Nicholas. This time,  I've called you.  
>  _(sharp)_  
>  Do you mind if I come to the point?

CUT TO:

446\. INSERT—EXTREME CLOSE-UP OF NICK

Nick nods to LaCroix to continue, but he is still taken aback by the situation.

CUT TO:

447\. RETURN TO CLOSE ANGLE

> LaCROIX  
>  _(continues)_  
>  Yesterday, a truck was hijacked on its way to a Liquor  
>  Control Board warehouse.  
>  _(continues)_

Nick nods an acknowledgment.

> LaCROIX  
>  _(continues)_  
>  No doubt the  thieves think they stole a  
>  couple of hundred cases of Ontario red wine.  In fact  
>  ... they have this month's supply of bottled blood ...  
>  intended for distribution to the vampire community  
>  here in Toronto.

LaCroix stops—but Nick is too shocked to respond.

> LaCROIX  
>  _(sharply)_  
>  You  do understand what I just said?

Nick nods dumbly.  After a moment, he finds his voice.

> NICK  
>  _(tense)_  
>  All of it?

> LaCROIX  
>  Well, I still have some here.  A few special  
>  vintages are on order.  
>  _(pause)_  
>  But,  yes.  Essentially, if you're talking  
>  about ... hmmmm—  
>  _(chooses phrase)_  
>  —' sang ordinaire', so to speak—then, yes, they  
>  got the lot.

He waits for a moment, while Nick digests this.

> LaCROIX  
>  _(sharply)_  
>  You understand the implications?

> NICK  
>  _(a little cross)_  
>  Of course.

> LaCROIX  
>  There are some people I want you to meet.  You'll  
>  appreciate the problem better after you've talked to  
>  them.

Nick looks a little puzzled.

CUT TO:

448\. EXT. CUNNINGHAM'S HOUSE

LaCroix and Nick are at the door, which Cunningham is just opening.

CUT TO:

449\. CLOSE ANGLE AT FRONT DOOR

> CUNNINGHAM  
>  Ah, you must be Knight.  
>  _(quick nod)_  
>  Haven't actually met before.  Good to meet you.  Come  
>  on in.  
>  _(continues)_

Nick and LaCroix step inside.

CUT TO:

450\. INT. CUNNINGHAM'S HOUSE—CLOSE ANGLE IN HALLWAY

O.S. THE FRONT DOOR SHUTS.  LaCroix and Nick come through into the hall proper, followed by Cunningham.

> CUNNINGHAM  
>  _(continues)_  
>  I'm George Cunningham.  Own that bottling plant  
>  in Niagara.

He reaches out his hand, and Nick shakes it.

> NICK  
>  Yes, of course.

CUT TO:

451\. INT. CUNNINGHAM'S LIVING ROOM—CLOSE ANGLE ON DOUBLE DOORS TO FRONT HALL

Cunningham shows Nick and LaCroix in.

> CUNNINGHAM  
>  Better introduce you.  
>  _(continues)_

CUT TO:

452\. REVERSE PERSPECTIVE—CLOSE ANGLE TOWARDS FIREPLACE

Rocca and Mieka are standing by the fireplace.

> CUNNINGHAM (O.S.)  
>  _(continues)_  
>  Simon Mieka; Ysabel Rocca.  
>  _(continues)_

CUT TO:

453\. RETURN TO MAIN SHOT

> CUNNINGHAM  
>  _(continues, gesture at Nick)_  
>  Detective Knight.

CUT TO:

454\. RETURN TO REVERSE PERSPECTIVE

NICK COMES ON SCREEN IN F.G., HEADING INTO THE ROOM.  Ysabel Rocca comes forward to meet him.

> ROCCA  
>  _(to Nick)_  
>  I was not  aware until now that there was  
>  a vampire on the police force.  
>  _(continues)_

They meet and shake hands.  IN F.G., LaCROIX & CUNNINGHAM ALSO MOVE INTO THE ROOM.

CUT TO:

455\. RETURN TO MAIN SHOT—NICK & ROCCA IN F.G.

> ROCCA  
>  _(continues)_  
>  Sensible precaution really, when you think of it.  I  
>  hope you'll be able to help us.

Cunningham comes up behind Nick on his right, and LaCroix (nearly o.s.) on Nick's left.

> CUNNINGHAM  
>  _(to Nick)_  
>  Ysabel's in charge of the collection of blood in  
>  this province.

> NICK  
>  Then you bottle it, and ....  
>  _(breaks off)_

He looks inquiringly at Mieka (o.s.).

CUT TO:

456\. INSERT—CLOSE-UP OF MIEKA

Mieka is still standing in front of the fireplace.

> MIEKA  
>  _(simply)_  
>  I sell it.  
>  _(puzzled)_  
>  Though I don't believe we've  met, Mr. Knight.   
>  You get your own supply privately?

CUT TO:

457\. RETURN TO MAIN SHOT

> CUNNINGHAM  
>  Yes, he does.

Nick looks round at the three of them—Rocca just in front of him, Cunningham behind him to his right, and Mieka o.s. in front of him.

> NICK  
>  I'm a bit puzzled why you don't just get blood  
>  from some other source?

CUT TO:

458\. CLOSE TWO-SHOT OF NICK & LaCROIX (INTERCUT W/ CLOSE-UPS)

> LaCROIX  
>  _(bland sarcasm)_  
>  Apparently, Nicholas, it's not such a simple matter  
>  as it seems.

Nick looks at him, puzzled and curious.

CUT TO:

459\. CLOSE-UP OF MIEKA

> MIEKA  
>  _(thinly)_  
>  Buying directly, you wouldn't understand.  
>  _(continues)_

CUT TO:

460\. CLOSE TWO-SHOT OF NICK & LaCROIX

Nick looks round at Mieka.

> MIEKA (O.S.)  
>  _(continues)_  
>  Mortals today have too many  regulations ...  
>  _(continues)_

CUT TO:

461\. CLOSE-UP OF MIEKA

> MIEKA  
>  _(continues)_  
>  ... on the sale of—  
>  _(sniffs)_  
>  —what  appear to be bottles of wine.  
>  _(superior tone)_  
>  Of course, to avoid questions, we sell through liquor stores.  
>  _(slight irritation)_  
>  But here in  Ontario all liquor stores are run by  
>  the provincial government ... which does  
>  complicate matters.

CUT TO:

462\. EXTREME CLOSE-UP OF ROCCA

> ROCCA  
>  What's more—  
>  _(continues)_

CUT TO:

  
463\. CLOSE TWO-SHOT OF NICK & LaCROIX

Nick's attention turns to Rocca.

> ROCCA (O.S.)  
>  _(continues)_  
>  —in  this country blood is—  
>  _(continues)_

CUT TO:

464\. EXTREME CLOSE-UP OF ROCCA

> ROCCA  
>  _(continues)_  
>  —a monopoly of the  Canadian Blood Services.   
>  I may have a senior position ... but, even so, I can't  
>  suddenly divert more without it being noticed.  
>  _(pauses)_

CUT TO:

465\. CLOSE TWO-SHOT OF NICK & LaCROIX

Nick frowns, as he starts to realize the situation.  LaCroix has a superior look on his face.

CUT TO:

466\. EXTREME CLOSE-UP OF ROCCA

> ROCCA  
>  _(continues, apologetic)_  
>  We  made no contingency plans.  The  
>  system was set up years ago and ... it's  
>  worked so well.

CUT TO:

467\. CLOSE TWO-SHOT OF NICK & LaCROIX

> LaCROIX  
>  _(suavely)_  
>  Too well, perhaps.

CUT TO:

468\. EXTREME CLOSE-UP OF ROCCA

> ROCCA  
>  _(to LaCroix, sharply)_  
>  We needn't go through that  again, LaCroix.   
>  You said what you thought earlier this evening.  
>  _(continues)_

CUT TO:

469\. CLOSE TWO-SHOT OF NICK & LaCROIX

Unaware of his visit, Nick gives him a startled glance.

> ROCCA (O.S.)  
>  _(continues)_  
>  It wasn't helpful  then—  
>  _(continues)_

Nick's attention returns to Rocca.

CUT TO:

470\. EXTREME CLOSE-UP OF ROCCA

> ROCCA  
>  _(sharply)_  
>  —and there's no point in wasting time on it now.  
>  _(to Nick)_  
>  Mr. Knight, we have to  talk to you.  The  
>  community needs your help.

CUT TO:

471\. MOON IN THE SKY (STOCK)

CUT TO:

472\. EXT. CUNNINGHAM'S HOUSE——ANGLE ALONG PATH TO DOOR——NIGHT

Nick and LaCroix go down the steps to the path.

> NICK  
>  LaCroix, I've been thinking.  If the thieves  
>  don't already have a buyer set up, they're  
>  going to be offering that ... 'wine' they stole ...  
>  for sale on the black market.

> LaCROIX  
>  You want me to put out the word I'm interested?

> NICK  
>  It can't hurt.  
>  _(uncertain pause)_  
>  Though actually ...  
>  _(hesitates)_

NICK HALTS IN F.G.  LaCROIX STOPS TOO.

> NICK  
>  _(continues, thoughtful) _... as an interim measure ... increasing the  
>  supply of cow's blood might serve.  
>  (looks at house)  
>  Maybe I should—  
>  _(interrupted)___

Before he can finish "go in and talk to Cunningham"—as he turns (about to go back in)—LaCroix catches his arm.  Startled and indignant, he looks back at LaCroix.

> LaCROIX  
>  _(scornful)_  
>  Don't be a  fool, Nicholas. No one but you  
>  will drink that ... when they can get the  
>  real thing so easily.  
>  _(pitying)_  
>  They'll do what comes  naturally—if you'd  
>  only admit it.

Nick's lips tighten.

CUT TO:

473\. FLASHBACK—INT. NICK'S PARLOUR—CLOSE-UP OF FRONT DOOR

It opens and Nick comes in. He halts in the doorway.

CUT TO:

474\. INSERT—EXTREME CLOSE-UP OF NICK

Shocked, appalled.

CUT TO:

  
475\. ANGLE INTO ROOM (NICK'S P.O.V.)

In the middle of the room, LaCroix has his teeth sunk into Dinah's neck.  He looks up and lets her body slip to the ground.  Blood trickles from the corner of his mouth.

CUT TO:

476\. RETURN TO CLOSE-UP OF NICK IN THE DOORWAY

> NICK  
>  LaCroix! How could you?

CUT TO:

477\. RETURN TO ANGLE TOWARDS LaCROIX

CAMERA SLOWLY CLOSES IN.

> LaCROIX  
>  Well, you didn't seem to want her.  
>  _(sarcastic)_  
>  You're going to visit Dr. Hendricks,  
>  aren't you?  
>  _(disdainful pause)_

CUT TO:

478\. INSERT—EXTREME CLOSE-UP OF NICK

Goes cold, realizing this is a way of punishing him.

CUT TO:

479\. RETURN TO ANGLE TOWARDS LaCROIX

> LaCROIX  
>  _(continues, sweetly)_  
>  And, as I said ...  
>  _(wipes blood off lips)_  
>  ... she was a  lovely girl. It would have been  
>  a pity to waste her.

He licks off his finger the blood he has wiped off his face. Then he smiles at Nick.

CUT TO:

480\. PRESENT—TWO-SHOT OF NICK & LaCROIX ON THE FRONT PATH OF CUNNINGHAM'S HOUSE

Nick shakes off LaCroix's grasp, angrily.

> NICK  
>  _(slight contempt)_  
>  Why are you concerned at  all with this,  
>  LaCroix?  
>  _(continues)_

LaCroix is taken aback.

> NICK  
>  _(continues)_  
>  I would have thought you'd be  pleased  
>  if vampires had to revert to their old habits.  
>  _(bitterly)_  
>  After all, you  believe in hunting humans  
>  for their blood.

FADE OUT.

 

**END ACT FIVE**

* * *

  
  
**EPILOGUE**

FADE IN:

481\. INT. NICK'S APARTMENT—LONG SHOT—FROM THE FAR END OF THE LIVING ROOM—DAY

It is nearly dawn.  In b.g., Nick and Natalie have just come in, and are still by the elevator.  Nick holds the remote, and is lowering the shutters.  Natalie heads up the room to the living room area.  She goes over to the fireplace, and stands looking at the mantelpiece for a moment.  Nick slowly comes up the room behind her.  She turns round.

> NATALIE  
>  _(depressed)_  
>  To tell you the truth, Nick—  
>  _(continues)_

CAMERA HOLDS ON HER as she heads for the couch.  She looks tired and worried.

> NATALIE  
>  (continues)  
>  —I hadn't realized there were so many vampires  
>  in Toronto.  
>  _(continues)_

She drops her bag on the coffee table.  Nick stops behind his chair.

> NATALIE  
>  _(continues, astounded)_  
>  Running a whole blood  industry!

Nick puts his hands on the back of his chair.

> NICK  
>  _(absently)_  
>  Well, there  are.  And they do.  
>  _(continues)_

Suddenly, the preconceptions behind her words hit him.  He straightens up, surprised at her.

> NICK  
>  _(continues)_  
>  Nat, they  have to!  Think of the alternative!

CUT TO:

482\. INSERT—EXTREME CLOSE-UP OF NATALIE (NICK'S P.O.V.)

She turns her head suddenly to look at him.

> NATALIE  
>  _(sharply)_  
>  I am!

CUT TO:

483\. RETURN TO SHOT

As he talks, Nick comes round the chair and sits down, his right arm on the arm of the chair.

> NICK  
>  Of course, the more ...  
>  _(judiciously)_  
>  ...  foresighted members of the community  
>  will find some excuse to leave town for a while.

CUT TO:

484\. CLOSE ANGLE OVER THE BACK OF THE COUCH (AT NICK'S END OF THE COUCH)—TOWARDS NATALIE

Natalie is still standing at the coffee table.

> NATALIE  
>  _(acidly)_  
>  Oh that makes me feel a  whole lot better.   
>  Only irresponsible, thoughtless vampires  
>  will be killing people.  How reassuring!

ANGLE SHIFTS TO FAVOUR NICK.  He has nothing to say to this.  He looks up at Natalie sadly, but with a fatalistic resignation.  ANGLE SHIFTS BACK TO NATALIE.  She looks at him for a moment.  Then she turns round, and goes around the end of the table (to sit on the couch).

> NATALIE  
>  _(continues)_  
>  'To serve and protect' ... isn't that the  motto?  
>  _(pauses for effect)_

Nick looks at her, startled.  CAMERA CLOSES IN ON NATALIE.  She sits down, swivelled round sideways to face him.

> NATALIE  
>  _(continues, earnest)_  
>  The people of this city  depend on you, Nick.   
>  The fact that they don't know their danger  
>  only makes your responsibility greater.  
>  _(pauses)  
>  (firm, but quiet)_  
>  You've got to  do something.

CUT TO:

485\. CLOSE-UP OF NICK

He looks drawn with worry.

CUT TO:

486\. RETURN TO CLOSE-UP OF NATALIE

Firm.

CUT TO:

487\. RETURN TO CLOSE-UP OF NICK

His eyes fall.

FADE OUT.

**THE END**

* * *

 

* * *

 

**Author's Note:**

> By writing order, this was the ninth episode of FK4 completed—at that time, in a one-episode version. This was finished in April 1997. Expansion to two episodes began in late summer 1997. The first half, "Dawn of a New Knight", was completed in March 1998. (The second half became "Sang Ordinaire".) 
> 
> The public debut of the episode was on 20 September 2004, when the announcement of its webpage was made on FORKNI-L.


End file.
